#Menophantos

[quodnonnecatemunit]

Palazzo Massimo - Rome Inspired by the magnificent palaces of the 16th century, Palazzo Massimo was built between 1883 and 1887 by the Jesuit priest Massimiliano Massimo, based on a design by Camillo Pistrucci, to house the new Jesuit school. In 1981, the Palazzo was acquired by the Italian Government to become one of the new sites for the National Roman Museum. A radical renovation of the building was entrusted to Costantino Dardi and the Palazzo opened to the public in 1998. Since then, the original installation has been revised and adjusted on a number of occasions, interweaving the various threads of the exhibition using a design based on chronology and theme. By referring to the contexts in which the artefacts were found, this creates the suggestion that different works are jumbled together as in the bustling collections of the 16th century. Now, moving through the rooms of the Palazzo Massimo is like leafing through the pages of a wonderful book. Its four floors contain some of the greatest masterpieces of the entire artistic output of the Roman world: sculptures, reliefs, frescos, mosaics, stuccoes and sarcophagi, originating, like all of the treasures of the National Roman Museum, from excavations undertaken in Rome and the surrounding region from 1870 onwards. The route of the visit begins with the theme of the portrait and its evolution, from exclusive use by the most illustrious citizens in the Archaic Period to the widespread use of portraits among freedmen, from portraits of Greek origin, such as those of Alexander the Great, to those of simple Roman citizens eager for self-celebration at the end of the Republic, like the Tivoli General, and new forms of portraiture linked to the birth of the Empire, such as Augustus dressed as the Pontifex Maximus. Greek originals in marble, such as the Niobid from the Horti Sallustiani (Gardens of Sallust), and in bronze, including the Boxer at Rest and the Hellenistic Prince from the Baths of Constantine, are typical examples of the models of Greek art that came to Rome with the wars of conquest. Continuing the history of portraits in the Imperial Age, the first floor displays the Roman taste for reworkings and copies of ideal sculptures, like the Discobolus of Myron, presented in two well-known reproductions – the Lancellotti Discobolus and the Discobolus of Castel Porziano -, the Sleeping Hermaphroditus, the Aphrodite of Menophantos, and innumerable works depicting gods and mythological figures. However, sculpture also became a means of expression for celebrating victories at the borders of the Empire, such as the monumental Portonaccio sarcophagus, and a method for paying tribute to the greatness of well-known figures in the society of the late Roman Empire, as can be seen from the Acilia and Annona Sarcophagi. The second floor of the Palazzo is dedicated entirely to frescos, stuccoes and mosaics. One element that is fundamental in fully grasping the taste and aesthetic sense of the Roman aristocracy is the superb wall decorations of major archaeological complexes, such as the Villa di Livia in Prima Porta, the Villa Farnesina in Trastevere and the Villa di Termini. The basement level offers a selection from the collections from the National Roman Museum’s Coin and Medal Collection and is dedicated to the economy and the use of money, interpreted through an exhibition of coins, jewellery, precious ornaments and documents relating to the daily cost of life.

[theancientwayoflife]

~ Statue of Aphrodite signed by Menophantos. Date: Greek copy of the 1st century B.C. Medium: Greek fine-graine marble Provenance: Rome, Roman National Museum, Palazzo Massimo alle Terme (Museo nazionale romano, Palazzo)

• Inscription: Massimo alle Terme)ΑΠΟ ΤΗΣ ΕΝ ΤΡΩΑΔΙ ΑΦΡΟΔΙΤΗΣ ΜΗΝΟΦΑΝΤΟΣ ΕΠΟΙΕΙ (From the Aphrodite in the Troad: Menophantos made (it)).

[romegreeceart]

Aphrodite

* 1st century BCE

* San Giorgio al Celio, Rome

* Near the statue's left food, a little casker bears the Greek inscription:"of the Aphrodite which is situated in Troad, Menophantos made it"

* Palazzo Massimo

* 1958 x 2611

Rome, July 2015

[inthedayswhenlandswerefew]

But You Can Never Leave [Chapter 5: Don’t Even Think About It]

Hi y’all! I’m so sorry I’ve been gone for so long...finals and job hunting got the best of me. I will be updating more frequently going forward. As always, thank you so much for reading!! 💜😘

Series summary: You are an overwhelmed and disenchanted nurse in Boston, Massachusetts. Queen is an eccentric British rock band you’ve never heard of. But once your fates intertwine in the summer of 1974, none of your lives will ever be the same...

This series is a work of fiction, and is (very) loosely inspired by real people and events. Absolutely no offense is meant to actual Queen or their families.

Song inspiration: Hotel California by The Eagles.

Chapter warnings: Language, very very very little sexual content.

Chapter list (and all my writing) available HERE

Taglist: @queen-turtle-boiii​ @loveandbeloved29​ @killer-queen-xo​ @maggieroseevans​ @imnotvibingveryguccimrstark​ @im-an-adult-ish​ @queenlover05​ @someforeigntragedy​ @imtheinvisiblequeen​ @joemazzmatazz​ @seven-seas-of-ham-on-rhye​ @namelesslosers​ @inthegardensofourminds​ @deacyblues​ @youngpastafanmug​ @sleepretreat​ @hardyshoe​ @bramblesforbreakfast​ @sevenseasofcats​ @tensecondvacation​ @bookandband​ @queen-crue​

Please yell at me if I forget to tag you! :)

You’re in the crowd at The Rainbow, although you aren’t sure why; this has already happened.

Freddie is skulking across the fog-draped stage as he belts out the chorus of In The Lap Of The Gods...Revisited, all glistening tan skin and teased hair, a pillar of nimble black leather; John is only a silhouette in the mist. Brian looks like something that’s crawled out of a cocoon: leggy and insect-like, the sleeves of his flowing white blouse like a pair of wings. And Roger...Roger’s in the back, of course—“the hardworking one in the back,” he always says—with a glittery black kimono-like shrug hanging loosely off his bare shoulders. He’s drumming feverishly, sprays of Heineken flying off his floor tom, his forehead and blond hair dripping.

“Whoa, whoa, la la la, whoa...

I can see what you want me to be,

But I'm no fool,

It's in the lap of the gods...”

Somehow, as the fog clears, Roger’s eyes find you in the crowd. He grins in that effervescent, blameless way that he does. And now you know for sure that this is a dream; because there’s no chance Roger could see that far without his glasses.

There’s a banging noise coming from somewhere, but it’s muted, distant, splintered like an echo.

Dream Roger is fading away, dissolving as the lights shade to black on the stage. He disappears, and then Freddie does too, and then Brian, and finally John. The crowd you’re standing in is a sea of churning, indistinguishable faces.

The banging grows louder, closer. You can hear a new voice now.

You swim up from unconsciousness and punch into daylight. You’re laying on your back in bed in a small, rustic hotel room; it takes you a second to remember what the world looks like now. It’s not November at the Rainbow Theater. It’s December 11th, and you’re in Rome.  

You sit up in bed and turn towards the door. Whoever is out there is knocking so forcefully that the distressed wood rattles on its hinges.

“Hey, Dorothea Dix, wake up!” Freddie is shouting through the door.

You rub your eyes as your feet touch the cool teak floor. The band flew into Rome late last night, and has one full day to burn before their concert on the 12th. You’d pitched the idea of visiting a few museums, the Colosseum, the Pantheon, the Roman Forum, St. Peter's Basilica, maybe even the Baths of Caracalla or the Temple of Venus and Roma; but it had been difficult to get anyone to commit at 2 a.m. when you were all exhausted and dragging luggage into the modest, quite geriatric hotel. Queen may finally have a Top 20 album in the U.S., but the streets aren’t paved with gold just yet.

“Darling, need I remind you that this was all your idea, you simply must wake up this instant—!”

You swing the door open. Freddie is standing in the hallway in a vivid yellow-and-black jacket and white jeans, tall boots, dark hair huge and curly, folded aviator sunglasses peeking out of his pocket.

“Get ready, bitch,” he says, grinning, then slips the sunglass over his dusky eyes. “All those gorgeous marble blokes with their cocks hanging out aren’t going to ogle themselves.”

~~~~~~~~~~

You start with the ruins, then end up at the National Roman Museum after lunch. Brian and Chrissie meander through the halls of cracked marble goddesses and heroes and piecemeal fractions of bodies, their hands intertwined; Chrissie took a few days off work to meet the band in Rome, and she’s glowing with the thrill of being reunited with Bri. Freddie is contemplating the displays, tapping his chin thoughtfully and chatting as John nods along and sketches in his notebook. There’s a photographer scurrying around snapping photos of the band for some magazine, to the vexation of the museum employees. They scowl from the corners of the rooms, their suits pristine and arms crossed, muttering to each other in Italian.

Roger leaps in front of a hulking statue of Perseus and mimics the pose. “What do you think?” he asks you, wielding an invisible spear. “Am I courageous? Divine? A mirror image?”

“You’ll have to work on the hair. And gain like a hundred pounds.”

He wrinkles his nose. “Pounds?!”

“Whoops. Kilos. A lot of kilos. But I think I like you as you are. Can I see your hands?”

Roger falls out of his pose, smiling. “Yes ma’am.” He presents his palms for inspection. The first weeks had been hell for him as his hands were worked into touring shape, repeatedly blistered and worn raw, iced and treated and bandaged by you each night only to be pummeled all over again the next day. Of course, Roger hadn’t described it that way; he shrugged at the blood and swollen knuckles, his eyes already alight with the promise of future shows. That’s just a casualty of fame, love, he’d told you. I’d take it all again and more. The last of his blisters have healed now into discolored callouses, rough whirlpools of memories from cities like Glasgow and Bristol and Helsinki and Munich. “I can get more pounds too, you know. I’ll be swimming in them. I’m gonna buy you a mansion when we get home.”

“Not so fast, blondie.” You graze your thumbs over his rugged palms and release him. Aside from your annoyingly incessant concern for Roger, your job hasn’t proved to be too taxing: there have been sprains, minor lacerations, severe hangovers, some alcohol poisoning, and one case of syphilis that you identified and sent the unfortunate man to a doctor for, all of which afflicted the roadies rather than the band.

“How’s Jo doing?” Chrissie calls over from where she and Brian are scrutinizing a sculpture of Apollo. She tosses Roger a smirk.

“Fine,” he replies briskly. “It was amicable. She understood. Nothing personal, just with the tour and everything we knew it wasn’t going to work out. Bad timing, that’s all.”

“Hm. That’s not exactly how she described it.”

Roger sighs, irritated. “Well, Chris, I really can’t control what she chooses to tell you, can I?”

“Shhhh. Play nice, love,” Brian coos, massaging Chrissie’s shoulders.

Roger pops a cigarette between his lips and moves to light it. A museum employee rushes over, waving his arms frantically. “Per favore, signore, no smoking near the exhibits—!”

“Oh, right, right. Sorry.” Roger tucks the cigarette away, then turns back to you. “Okay, no mansion then. What’s your fancy? Diamonds and gold? Tigers on leashes?”

“A harem of sensual Italian men?” Freddie suggests. Chrissie bursts out laughing.

“I hope not,” Roger says.

“You know what I really want?” you say, eyeing busts of Hadrian and Nero.

“What?” Chrissie asks.

“A camera. A really good one. To document all of this, our adventures. I mean, I know we have...” You wave towards the magazine photographer, who’s mostly snapping shots of Freddie and Roger. “But it would be nice to have my own photos. Carry them around in my wallet, force strangers to look at them, cover my refrigerator with them, all that sentimental stuff. So the minute you kids start making real money, I’d like a nice Canon. Or a Nikon. Or whatever the best camera is.”

“The Canon F-1 is quite good,” the photographer offers.

“Perfect! Clearly, I know nothing about cameras. And will need a hefty instruction manual. But I’m still excited.”

Roger winks. “I believe in you.”

As you all wander into the next room, Freddie spies a grand piano and sprints to it. He slides onto the bench and begins testing the keys. A distraught museum employee appears instantly.

“Signore, please, this is for the museum staff only, please signore!”

“Oh relax, darling, I won’t break it.” He begins experimenting with some light, jazzish melody.

“I love Rome,” you decide as you stroll past the Aphrodite of Menophantos. “Are you sure we can’t stay here forever?”

John frowns as he shades in whatever he’s drawing in his notebook. “It’s too bad we couldn’t make it to Florence.”

Freddie rolls his eyes from the piano. “Deaky, darling, this Dante’s Inferno obsession has got to go. It’s positively morbid.”

“He ends up in paradise,” John protests wryly.

Freddie snorts. “Yes, well, Florence is a three hour drive each way. Next time perhaps. Once we’ve all got private jets and Nurse Nightingale over there has her posh camera.”

“And we’ve acquired trophy wives to pose with us,” Brian jokes. Chrissie squeals and shoves him good-naturedly.  

“We could go to the beach,” John proposes.

“A seaside rendezvous?” you say playfully.  

Freddie hums and nods as his fingers fly over black and white keys.

“Signore...” the museum employee begs. The photographer circles Freddie and the piano, snapping picture after picture.

“The beach?!” Roger whines. “It’s too cold for that! We can’t swim, we can’t sunbathe practically naked, what’s the point? And we’re checking out that club tonight. The one by the hotel, what’s it called, Fred? El Fuocolio?”

“Il Fuoco,” Freddie corrects, amused.

“Ah. Forgive me for not keeping up with my Italian.”

“We don’t all listen to opera, you know,” you tease Freddie. He peers over at you thoughtfully, then continues playing. “I’ll go to the beach with you, John.”

He almost drops his notebook and pencil. “Will you?”

“Of course. I’ll have fewer opportunities in my life to see the Italian seaside than get tipsy and evade dodgy men at some bar, most likely. Although I will miss seeing your dancing.”

“Aww!” Now Roger is dejected, his huge blue eyes pleading. “You have to come with us.”

“Next time,” you promise him.

“This time.”

“Next time.”

“Fine.” He points at John. “Don’t let her get eaten by a shark or run off with some Italian playboy.”

John grins. “I’ll do my best.”

Two burly security guards arrive and begin shouting at Freddie in Italian. “Oh fine, fine!” he snaps as he stands and abandons the piano. The museum employee beams triumphantly.

“Fred, I think we’ve tormented them enough,” Brian says.

“Bri, can we go to the beach too?” Chrissie asks. “Please?”

“It’ll be chilly.”

“I have a jacket. And I can borrow yours if necessary.”  

Brian chuckles. “Okay. We can go. Ostia’s the closest one, I suppose.”

“You’ll love it,” you tell him. “It’ll be like time travelling. You get to stand on the same shore that the ancient Romans did, bury your feet in the same sand, watch the same sunset. That should appeal to an astrophysicist such as yourself.”  

“How poetic,” John muses.

Roger comes to you, shrugs off his black leather jacket, drapes it over your violet sweater.

“Roger, don’t—”

“I’ll miss you,” he interrupts, smiling, then presses his lips fleetingly to your forehead.

~~~~~~~~~~

The four of you take a crowded, decidedly unglamorous bus to Ostia and walk the beaches under the fading afternoon sun. It is chilly by the crashing water, and the wind whips across your cheeks forcefully enough to sting; but none of that stops you. Brian and John collect seashells, and Brian retreads all the details of the tour—all the things he wishes he could do over, all the things he wants to change going forward—as John listens, smoking and nodding when appropriate. You and Chrissie kneel in the cool sand and shape castles with your hands, giggle about how messy and lopsided they are, scribble notes in the soft sifting remnants of stone and quartz: Chrissie loves Bri, Buy Sheer Heart Attack today, Queen was here. And you’re thinking about Roger more than you should be, and Chrissie knows it; but she’s not going to say anything about that now.

When the boys come back, Bri sits in the sand next to Chrissie and begins to decorate her castle with the shells he found: scallops and clams and tulip shells and oysters and tiny lightning whelks. She claps and hugs him, leaps into his lap, pulls him in for a kiss.  

“This is terribly unfair,” you say, staring morosely at your now even less impressive sandcastle.

John appears beside you and offers a massive pink conch filled with very small, pristine, glossy shells. You gasp and clasp a palm over your heart.

“Really?!”

“Yeah,” he says, puzzled. “Who do you think I picked them for?”

“You’re the best. The absolute best. A treasure. I owe you my life. Wait...” You pick up a thin shard of driftwood and write into the side of your sandcastle: John Deacon, and then a heart encircling it. “You are officially lord of the sandcastle.”

“A prestigious position, surely,” he says, smiling, then passes you the conch. “Go on.”

As you place the shells, he finds a dried bit of seaweed and impales it on the piece of driftwood, then plants the makeshift flag on the tallest tower of the castle.

Brian glances over and shakes his head, his mess of curls shivering. “Chris, love, I fear we’ve been outdone.” Then he nods to the words you and Chrissie carved with your fingertips. “Leaving letters in the sand?”

“Promotional material,” you quip; but you can tell the wheels in Brian’s magnificent mind are whirling.

As the sun sets over the Mediterranean Sea, golden speckles of light floating disembodied on the waves, the four of you get gelato and browse through bookstores and wander down cobblestone streets. And on the bus ride back to the hotel, Brian points out constellations as you hold the conch shell in your lap and doze against John’s shoulder.

~~~~~~~~~~

Brian and Chrissie depart to get dinner when you arrive back at the hotel, taking the rare opportunity for a date night. You try to think of a more romantic destination than Rome. Paris? New York? Venice? Probably none of those. You push the images that flood your thoughts away: candlelit meals with violins serenading in the background, the warm cascading glow of streetlights, tossing coins into fountains older than either London or Boston, gazing over the table and into the ensnaring oceanic eyes of the person who won’t be there. Roger.

“Do you think Roger and Fred are back yet?” you ask John in the lobby. He’s still got his notebook in his jacket pocket, but he won’t let you see it.

“I doubt it, but let’s find out.”

You ride the elevator to the band’s floor, still clutching the conch shell, as John fields ideas for dinner.

“Roger’s going to want pizza and beer, but we might be able to get Freddie to go for something more swanky. Actually, he’ll probably order dessert first. There’s a restaurant down the street that I heard has phenomenal tiramisu and lasagna.”

“Oh god. I would kill for a good lasagna.”

“No need for all that,” John says. “We don’t have enough cash for your bail.”

“If they serve lasagna in prison, you can leave me here.”

“But then who would patch up our debaucherous roadies?!”

You laugh as the elevator lurches to a halt and the doors open. “Just call me up in prison and I can talk you through it—”

You step out and turn down the hallway; then all the air vanishes from your lungs. Roger’s fumbling with his key as he tries to get into his room...and pressed between him and the door is a raven-haired, modelesque woman in a short red dress. His eyes are closed, her tongue darting between his lips, his free hand skating up her bare thigh and beneath her dress. And suddenly you’re being dragged back into the elevator, John’s arms locked around your waist. He hits the button for the lobby then reaches for you uncertainly.

“Are you okay—?”

“Yeah, I’m fine, I’m totally fine, I’m...” But for some reason, your throat is burning and your eyes are blurring with tears. You try to blink them away and they drop down your cheeks like rain.

“You’re not,” he realizes softly.

“Goddammit,” you choke out, sobbing.

“Hey, don’t do that,” John pleads. “Please don’t do that, please don’t cry—”

“Oh god, I’m so sorry, this is so stupid...” You fan your face and try to wrangle your breathing. The way he was touching her...I can’t forget the way he was touching her. “I am so stupid.”

“You’re not,” John flares. And when he opens his arms you rush into them, burying your face in his jacket as he pulls you closer, drowning you in his warmth. “You’re not stupid,” he says, quietly but severely. “You’re wicked smart and wonderful and perfect, so you’re not allowed to say anything to the contrary. Alright?”

“Okay,” you whisper. And it occurs to you—as your breathing slows, as your tears subside—how incomparably comfortable this feels, homey even.

John clears his throat. “Hey, not to break this up or anything, but you’re sort of stabbing me with the conch shell.”

Incredibly, you laugh as you back away, swiping at your eyes. “Sorry.”

The elevator doors open, and John leads you out into the lobby. “Here’s what’s going to happen,” he says. “We’re going to go to that restaurant on the corner and I’m going to order a lasagna—”

“John, I don’t think I can eat anything.”

“Doesn’t matter. Did I say you were going to be forced to eat it at gunpoint? No I did not. I’m going to order a lasagna, and if you want some awesome, and if you don’t we’ll just sit and talk. And you can nibble table bread or drink so much wine you forget today ever happened, whatever you want. You make the rules. But we’re going, and I’m ordering lasagna.”

“Okay,” you reply, sniffling, smiling up at him gratefully.

The restaurant is teeming with tourists, and you end up seated at a tiny table near the back with very dim lighting and a roaring fireplace. It’s deliciously hot, burning away your misery; or, at least, making it feel as if it might belong to someone else, as if maybe you heard about it from a friend or in a song, maybe even dreamed it. You take Roger’s leather jacket off and hang it on the back of your chair. When the waiter arrives, John orders for you.

“One lasagna, the biggest one you have, and extra table bread, and uh...” He skims the menu. “Two red wines and a Coke. And a sparkling water. So the lady has a selection.”

“Si, signore. Grazie.”

When the waiter leaves, John lifts off his jacket too, then unbuttons his shirt to his navel. The sweltering glow of the firelight dances across his pale skin in a way that is mysteriously distracting. “Well, it definitely doesn’t feel like December in here.”

“I’m sorry, maybe they could move us—”

“No, that’s alright, I know you like it. And one should be sweating in Southern Italy, don’t you think?” He tears off a hunk of bread when it arrives and plates it for you. The conch shell lays on the table by the salt and pepper shakers, to the visible confusion of the waiter.

“Thank you. For everything, John. Really.”

He gazes at you with those blue-grey eyes that can look like either clouds or steel depending on the occasion. Tonight they are misty, like the froth over waves, impossibly soft. “It doesn’t mean anything,” he says gently. “I don’t know if that helps at all, but I think it should. It doesn’t mean anything to someone like Roger, what you saw tonight.”

You sigh. “I guess it doesn’t. And I’m sorry, I know it’s ridiculous, I know that, and I’m just so frustrated and...and...I get it, I get that I have no right to care about anything Roger does, which is why I feel like such an idiot for reacting this way, but I just...I just...I’m just so...so fucking torn up about it and I’m sick of being surrounded by it all the time and I’m...I’m so...I’m...look, I’m sorry, can you button your shirt or something? That’s very distracting.”

“Oh, it’s distracting, is it?” John asks, grinning.

“Don’t you dare—”

He undoes several more buttons. “How about now, are you sufficiently distracted?”

“John, no!” you wail, laughing.

“I wouldn’t want to do anything to distract you from your tortured inner monologue...” He removes his shirt entirely and tosses it to the floor. “How are you now?”

“Very distracted,” you wheeze.

“Excellent.” He smiles, resting his face in his hands, the firelight flickering over his bare chest and shoulders, reflections of flames in his eyes. “See, you don’t look so sad now.”

“No, I guess I don’t.” You bite into your hunk of bread. But still, the way he was touching her...  

John sips red wine and smirks teasingly. “You know...if you ever get tired of the celibate lifestyle...I’m always game.”

You laugh, shaking your head, and open the Coke bottle. “That’s very much appreciated. But I don’t just want sex.”

“I know,” he replies, solemnly now. “You want him.”

“That’s pretty pathetic, isn’t it?”

“I don’t think you’re pathetic at all.” That seems like it must be a lie, but John sounds genuine.

“You’re my best friend, you know,” you tell him. “I don’t know what I would do without you.”

“Certainly not get treated to authentic Italian lasagna.”

You chuckle. “I’m sure that’s the least of your talents. Veronica is a very lucky woman.”

John nods, staring down at the table now, pushing crumbs around with the back of his hand. “If you say so.”

And, in the end, you managed to eat your half of the lasagna after all.

~~~~~~~~~~

When you get back to your hotel room, it’s very late in Italy...which means it’s only early evening in Boston. You pick up the phone and resolve to use the last of your miniscule weekly allowance for a long distance call.

Your mom answers on the third ring. “Hello?”

“Guess where I am right now.”

“Hopefully on a date with that nice Roger boy.”

“Oh my god, Mom.”

She titters pleasantly. “Tell me, dear. Germany? No, no. Spain.”

“Rome.”

“Oh!” she sighs, steeped in nostalgia. “Daddy and I went there on our honeymoon! Ages ago, of course. But it was wonderful, otherworldly. Like getting lost in a fairytale. How do you like it?”

“I love it,” you murmur. “Mom, can I ask you something?”

“Always, dear.”

You twirl the phone cord around your fingers anxiously. “How did you know that Dad was the one?”

“Hm.” She pauses; and you can envision the way she takes a step back and glances up at the ceiling whenever she’s thinking something over. Oh, maybe I do still miss parts of Boston. “Well...you know Daddy wasn’t single when we met. And neither was I.”

“Yeah, I think I remember that part of the story.”

“I’m not sure if I can explain it, dear. Truly. I...” She drifts off, pondering it. Finally, she says: “I’d had plenty of other boyfriends. I’d been interested in other people. And people are all so different, they all have something unique to offer to your life, whether good or evil. But when I met your father...I just felt like I couldn’t live without him. Suddenly nothing else seemed possible if he wasn’t in the picture. Like if he wasn’t there I’d spend the rest of my life missing him. Does that answer your question?”

“It does, yeah.” You close your eyes and feel the dark Mediterranean night air breeze in through the open window. The conch shell has found a temporary home on top of the antique dresser. “I love you, Mom.”

“Aww, I love you too, honey. And you’ll make the right decision, whatever that is.”

You look out into the constellations that Brian introduced to you earlier, Aries and Fornax and Perseus. “I hope so.”

[salomi]

Statue of Aphrodite

Greek fine-graine marble. Greek copy of the 1st cent. BCE, signed by Menophantos.

The figure leans slightly forward with her head tilted a bit to the side: she is seen bringing her right hand toward her breast in an attempt to shield herself from indiscreet eyes, while her left descends in front to cover her private parts with the comer of a towel which falls to her side onto a vanity case on the ground.

(Roman National Museum, Palazzo Massimo alle Terme.)

[loumargi]

Aphrodite -Greek sculptor Menophantos,from the 1st c.BC.

[teonnaelliottart]

Poses of Art History: Pudica

The Pudica Posture The Venus Pudica is a classic pose in Western art. In the Aphrodite of Menophantos, the statue features an unclothed female with her left hand pulling a cloth over her genitalia whilst her right covers her breasts. The goddess stands on her left leg while her right one is slightly inclined.

pudica is etymologically related to pudenda, meaning both shame and genitalia.

Contemporary critics have voiced that the origin of the pose, the idea that it is alluring or beautiful when a woman protects her nude body from unwanted eyes, is unsettling. It is difficult to view these works without attaching notions of beauty to the “damsels,” even if the viewer understands the disturbing nature of the pose’s implied narrative.

The above quote comments on a recent revelation by critics that the pose can be perceived as unsettling and intrusive. Throughout art history, there seems to be an allure to the female nude, particular on in which the model is trying to disguise herself from the audience's view.

The Renaissance era offers perhaps the most mainstream use of the venus pudica pose in the form of Sandro Botticelli’s The Birth of Venus.

@Aphrodite: Tracking Women’s Objectification from Venus pudica to Instagram — REMAKE (wustl.edu)

I found the above essay really interesting. It highlights the relevance of the classical posse in todays society and how the female form continues to be objectified by both the viewer and the subject encouraged by the development of social media. The essay recalls the story of Aphrodite.

The mythological story behind the statue goes that Aphrodite stood undressed as she stepped from her bath and heard someone approaching. The goddess’ reach to conceal herself dominates the viewer’s impression of Aphrodite, creating a “sexual narrative of protective fear.”

The placement of the hands attempting to cover, instead draw the eyes of the viewer down to see what the subject is doing / hiding. The subject is further objectified by her vulnerability, being nude in front of strangers. Her body language expresses discomfort with the situation and an indecency. A modern audience would feel repelled by this pose now, however, throughout art history, the pose has been intended to be gazed at. When we consider that the likely audience of the paintings were men, the idea of the male gaze is imposed.

The erotic display, designed to please its male viewers, was only admissible because it featured a goddess, rather than a “real” woman

[casaannabel]

Eternal...Aphrodite, detail, by Menophantos, Greek copy of the 1st cent. BCE, Roman National Museum, Palazzo Massimo alle Terme,

[sassycakesau]

'Golden Grecian Goddess' . I had the pleasure of free reign for this design, for a real life Goddess. This beauty stood a massive 85cm tall with real hand painted Olive leaves, and edible image depicting a famous sculpture by Menophantos from the 1st century B.C #cakes #celebration #cakeart #cake #edibleart #foodart #food #textures #sweet #fresh #handmade #foodporn  #love #family #delicious #party #melbournefood #ganache  #birthday #littlepleasures #simplepleasures  #foodphotography #acdnmember #melbourne  #bright #fondantart #edibleart #golden #birthday #Greek #cakeart (at Sassy Cakes) https://www.instagram.com/p/Byv1rWfg8H8/?igshid=13cis9a5jbc0q

[rome-antic-city]

Palazzo Massimo alle Terme

The Palazzo Massimo alle Terme is the largest of the Museo Nazionale Romano. There are numerous collections on this site; the jewels, coins and other types of ornaments are kept in the basement houses while the ground and first floor contain sarcophagi, reliefs, and original Greek sculptures as well as Roman copies of Greek originals. Colorful Roman frescoes are placed on the second floor along with a vast collection of mosaics. Worth mentioning are the frescoes from the Villa of Livia that depict a naturalistic garden filled with birds and vegetation. This is where my bias will jump out again because I am incapable of not ranting about sculptures and no I will not be fangirling over The Boxer even though his face is practically looking up and begging me to “admire” him. And just to be fair, I will focus on one female sculpture and one male sculpture, both of which call the viewer to admire their beauty.

We’ll start with the statue of Aphrodite carved by Menophantos. To anyone who gazes upon her, Aphrodite looks as if she is attempting to cover her breasts with her hands and her navel with the drapery she is pulling from the floor. But for anyone who knows Aphrodite, that’s probably as far away from reality as it could possibly get. Her facial expressions reveal her teasing nature, almost as if she is daring the viewer to look at her. She isn’t actively trying to keep her decency, on the contrary, she is purposely moving slowly to show the viewer as much of her smooth, curvy skin as possible. And you can even walk around her to admire every nude inch of her erotic beauty.

The second sculpture, the Discobolus Lancellotti by Myron, can also be admired from any perspective. Because it is marble, you’d expect it to look still, but the figure is anything but that. The fluidity of his movements mixed with the tense muscles of his chest and the popping veins of his arms and hands bring the sculpture to life. You can almost expect the disk to be thrown any moment.  Even his calves look strained. Surprisingly, the most erotic feature of the sculpture is the thrower’s face because if his body exudes “energy,” his face yells “calmness.” There is just something beautiful about a strong body, relying on the plasticity of its joints to throw a heavy discus, showing little to no emotion because it isn’t taking too much energy to bring the action to an end.