#the nile mosaic of palestrina

[aboutanancientenquiry]

Greco-Egyptian art and culture in Italy: the Nile Mosaic of Palestrina

“AMONG ITS EXTRAORDINARY COLLECTION OF regional archaeology, the National Archeological Museum in Palestrina preserves a magnificent piece that stands apart from the rest: an ancient mosaic depicting a vivid scene of the flooding river Nile.

Dating to the 1st century BCE, this Egyptian mosaic is believed to be the product of Alexandrian craftsmen, and it is among the most spectacular of the late Hellenistic age. Measuring almost 20 by 13 feet (6 by 4 meters), the mosaic depicts a flooded Nilotic landscape, inhabited by animals both real and imaginary, Ptolemaic Greeks, Aethiopian hunters, and priests performing rituals in their magnificent temples. The figures are often labeled in Greek characters and the entire scene may represent a vivid map of the Nile as it flows from the highlands of Ethiopia to the delta in the Mediterranean Sea.

Archaeologists expect the mosaic was originally used as a flooring decoration for an apse in a large rectangular room built as an artificial grotto (as can be surmised from the shape of the mosaic), by the forum of the city of Praeneste. The piece has also been identified as evidence of the early spread of Egyptian cults in Italy, especially the cult of the Goddess Isis. (Certain scholars claim that Isis was already at this point being identified with Fortuna, Goddess of Praeneste.)

The mosaic’s rediscovery and preservation have been tumultuous: In the 1600s, the Barberini family removed the mosaic and took it to Rome. It was then returned to Palestrina but damaged in the process and had to be restored anew. During the Second World War, to avoid damage from the allied bombings, the mosaic was once more removed, but it is now again on display in Palestrina.

Know Before You Go

The Nile mosaic is on display on the third floor of the museum, which is open every day from 9 a.m. to 8 p.m.”

Source of the text: https://www.atlasobscura.com/places/nile-mosaic-of-palestrina

[artandthebible]

The Finding of Moses

Artist: Nicolas Poussin  (1594–1665) 

Title: Moses Saved from the River

Genre: Religious Art

Date: 1630

Medium; Oil on Canvas

The Finding of Moses

Description

When the Pharaoh ordered the killing of all boys born to the Israelites, Moses was hidden by his mother in a basket of bulrushes on the river Nile. There he was discovered and adopted by the Pharaoh's daughter. In Christian theology Moses was considered a precursor of Christ and analogies were drawn between his escape and Jesús's flight into Egypt. The palace in the background is based upon one in a Roman mosaic at Palestrina, excavated a few years previously. To the right is a personification of the River Nile. The joyfulness of this event is expressed through the bright colours of the fluttering drapery and the gestures of the figures. This painting was commissioned by Reynon, a silk merchant of Lyon and subsequently belonged to Clive of India (1725–1774), from whom it was inherited by the Earls of Powis.

Exodus 5-6

Then Pharaoh’s daughter went down to the Nile to bathe, and her attendants were walking along the riverbank. She saw the basket among the reeds and sent her female slave to get it. She opened it and saw the baby. He was crying, and she felt sorry for him. “This is one of the Hebrew babies,” she said.

[arthistoryanimalia]

For #TilesOnTuesday + a belated #SaveTheRhinoDay:

“A two-horned African rhinoceros ‘PINOKEPOC’ on the Nilotic mosaic of the flooding of the river Nile in Egypt, from the Sanctuary of Fortuna Primigenia at Praeneste, c. 100 BCE, Palestrina Museo Archeologico.”

[yummypapyri]

Nile Mosaic at Palestrina, Italy, dated to 1st century BCE. 

https://www.atlasobscura.com/places/nile-mosaic-of-palestrina

[qquigley]

[via-appia]

Detail of a rhinoceros (PINOKEPOC) from the Nile Mosaic of Palestrina. This mosaic has an interesting history: thought to be created for an artificial grotto by Alexandrian craftsmen, it is identified as evidence of the spread of Egyptian cults in Italy (eg. the cult of Isis). Late Hellenistic - 1st century BC.

[claudiosuenaga]

A evolução é um mito: Mosaico do Nilo de Palestrina retrata homens caçando um animal pré-histórico extinto há milhões de anos

A arte de mosaico chamada “O Nilo de Palestrina”, datado de 100 a.C., representa o Nilo em sua passagem do Nilo Azul para o Mediterrâneo e retrata a vida cotidiana em uma cidade a leste de Roma. Nele encontram-se retratados muitos animais familiares com legendas em grego, incluindo o crocodilo, o macaco e a tartaruga.

Mas o que mais chama a atenção nesse piso helenístico tardio, é a áreas do mosaico que ilustra homens caçando uma criatura parecida com um dinossauro em um lago. A identificação do animal exibido no close-up está sujeita a muita controvérsia, visto que é difícil identificar com qualquer grau de exatidão a criatura. Cristãos conservadores e defensores do criacionismo, para corroborar suas crenças e teorias, têm invariavelmente apontado o animal representado nesse mosaico como sendo indubitavelmente um dinossauro.

Foi sugerido que o animal pode ser uma lontra, mas este não é caso, porque em outra parte do mesmo mosaico está exposta uma imagem de um par de animais que é explicitamente legendada como lontras.

A legenda grega para este animal diz que ele é um “crocodilo-leopardo”, um animal inexistente na galeria de nossa zoologia ou paleontologia. A antiga palavra para “girafa” era “camelo-leopardo” em referência à morfologia semelhante a de um camelo e ao padrão de cores semelhantes de um leopardo. Por que o animal do mosaico seria chamado de “crocodilo-leopardo”? A parte do “leopardo” no nome obviamente que não era devido ao padrão de cores. Podemos especular que este animal partilhava de uma mistura de traços mamíferos e reptilianos.

Não há nenhum animal em nossa fauna de hoje que se pareça com o "crocodilo-leopardo", nem tampouco que tenha uma mistura de traços mamíferos e reptilianos, embora haja um grupo de organismos extintos que pode e que é literalmente chamado de "répteis com a aparência de mamíferos". O problema é que todos os répteis de aparência mamífera extinguiram-se “milhões de anos” antes do mosaico ter sido criado. O gráfico abaixo ilustra este ponto de forma convincente. Note-se como o animal do mosaico está muito bem ajustado junto das reconstruções dos vários répteis com aparência mamífera.

Esse mosaico é uma das primeiras representações romanas de cenas nilóticas, embora várias outras tenham sido descobertas em Pompeia. Como esses artistas poderiam retratar todos esses animais extintos antes da paleontologia? A resposta óbvia é que eles testemunharam esses animais e que eles eram comuns em sua vida cotidiana.

Detalhes sobre o Mosaico do Nilo de Palestrina

O Mosaico do Nilo de Palestrina é uma obra de arte em azulejo considerada uma obra-prima da antiguidade que fazia parte de uma gruta-santuário clássica em Palestrina, uma cidade a leste da Roma Antiga, na Itália central. Tem uma largura de 5,85 metros e uma altura de 4,31 metros e oferece um vislumbre do fascínio romano pelo exotismo egípcio antigo no século I a.C., tanto como uma manifestação inicial do papel do Egito no imaginário romano, quanto como um exemplo do gênero "paisagem nilótica", com uma longa história iconográfica no Egito e no mar Egeu .

O mosaico, com uma moldura em arco que identifica sua localização original como piso de uma abside em uma gruta, apresenta representações detalhadas de de gregos ptolomaicos e etíopes negros em cenas de caça a vários animais, incluindo animais pensados ​​como extintos há 10.000 anos durante a Era do Gelo. Cada animal não só é representado com incrível precisão, como muitos são também nomeados.

É a mais antiga representação romana de cenas nilóticas, das quais várias outras foram descobertas em Pompéia. Um consenso sobre a datação da obra está surgindo lentamente. Paul G. P. Meyboom, professor assistente de Arqueologia Clássica na Universidade de Leiden, autor do livro The Nile Mosaic of Palestrina: Early Evidence of Egyptian Religion in Italy (Religions in the Graeco-Roman World) [Leiden, Brill, 1995], sugere uma data pouco antes do reinado de Sula (por volta de 100 a.C.) e trata o mosaico como uma evidência inicial da disseminação de cultos egípcios na Itália, onde Ísis foi sincretizada com Fortuna. Ele acredita que as cenas nilóticas foram introduzidas em Roma por Demétrio, o Topógrafo, um artista grego do Egito ptolomaico ativo (por volta de 165 a.C.). Claire Préaux (1904-1979), historiadora e filóloga belga especializada no período helenístico e professora na Université Libre de Bruxelles, enfatiza a natureza "escapista" do cenário fantástico.

O Mosaico do Nilo ainda era visto na cidade italiana de Palestrina, antiga Praeneste, no século XV. Quando notados pela primeira vez pouco antes de 1507 por Antonio Volsco, um humanista do círculo de Pomponio Leto, os mosaicos ainda estavam in situ entre os vestígios do santuário de Fortuna Primigenia de Sula. Naquela época, a cidade era propriedade da família Colonna de Roma, cujo palazzo em Palestrina ocupava uma parte das ruínas.

No século XVII, Palestrina passou para a família Barberini, que entre 1624 e 1626 removeu a maior parte do mosaico de seu cenário, sem registrar a composição geral, e após novos movimentos e danos, o colocou em exposição no Palazzo Barberini em Palestrina, onde permanece. O mosaico foi restaurado e reparado em várias ocasiões, mas as aquarelas cuidadosas das seções foram feitas para Cassiano dal Pozzo antes da restauração inicial no opificio (do latim opificium, local de trabalho-fábrica) de São Pedro. A redescoberta de Helen Whitehouse das aquarelas há muito perdidas permitiu uma reconstrução dos segmentos sobreviventes de uma maneira mais significativa, embora muito permaneça incerto sobre a composição original. O mosaico tem sido uma das principais atrações do Museo Nazionale Prenestino no Palazzo Barberini em Palestrina desde 1953.

No mosaico, o Nilo serpenteia por vinhetas representando paisagens e assentamentos exóticos; os detalhes mais recônditos são cuidadosamente rotulados em grego, ressaltando a fonte alexandrina do gênero. Lembremos que o Nilo não é apenas um rio do Egito. O Nilo é o rio mais longo do mundo, estendendo-se para o norte por aproximadamente 4.000 milhas (ou 6.400 quilômetros) da África Oriental ao Mediterrâneo. Além do Egito, flui pelos países africanos do Sudão, Burundi, Ruanda, República Democrática do Congo, Tanzânia, Quênia, Uganda e Etiópia.

A arte nilótica como o mosaico do Nilo do primeiro século de Palestrina detalhou a vida ao longo do Nilo. A natureza precisa da relação entre o mosaico e as práticas cartográficas é controversa. Recentemente, o mosaico de Palestrina foi interpretado como um mapa topográfico real do Nilo: a parte superior do mosaico representa a Etiópia, a zona superior da seção inferior representa o Egito e o primeiro plano representa o Delta, de cima para baixo entendido como sul para norte, a convenção padrão para mapas antigos. Mais provavelmente, no entanto, o mosaico fornece uma grande e coerente composição da paisagem do Nilo durante a estação das cheias, embora dependente de convenções topográficas.

[a-book-of-creatures]

A krokotta from the Palestrina Nile mosaic (detail).

[learningrome]

Nile Mosaic, from Palestrina, Praeneste, 2nd century B.C.

The Nile Mosaic, located in the floor of a building near the Sanctuary of Fortuna Primigenia in Praeneste, is considered one of the most impressive mosaics recovered from Roman history. The mosaic is composed of tiny tesserae, which are teeth-shaped stones. The mosaic uses atmospheric perspective, a technique in which the items closest to the viewer are sharper and brighter, and the images at the back of the mosaic have fuzzier edges and duller color. This technique creates an effect of distance and depth. The mosaic depicts the Romans’ perception of Egyptian life on the Nile River and shows several Nile scenes. The closest images are of temples and civilian life, while the back images show wild animals and native Africans. Many of the animals present in the scene are made up, and inscriptions under their images are nonsense words. The clear exaggeration and inaccuracy in the mosaic shows the Romans’ limited knowledge of and fascination with Egypt and Egyptian life. 

[cross-border-communications]

The Imposing Complex of Buildings of Praeneste/Palestrina's Forum Reopens to Visitors.

Not far from Rome, you can discover a unique place permeated by the history and culture of our territory: the National Archaeological Museum of Palestrina, the Sanctuary of Fortuna Primigenia, and the imposing Complex Buildings of the Forum of Praeneste/Palestrina reopened to visitors.

The Sanctuary of Fortuna Primigenia is the most remarkable example of Hellenistic architecture in Italy. Nowadays, its architecture shows up like an encounter between centuries of construction. Yet, here we have an irreplaceable testimony of its glorious remains in a structure made up of a series of artificial terraces interconnected by ramps.

The archaeological area is dominated by the austere Renaissance Palazzo Barberini, which stands on top of the ancient sanctuary and houses the National Archaeological Museum of Palestrina. In the rooms of the Museum, spread over three floors, the most important finds from ancient Praeneste and its territory are exhibited, arranged by significant themes that encompass the main aspects of the history, culture, and artistic productions of one of the central and thriving cities of ancient Lazio. Here the renowned mosaic of the Nile stands out among the largest and most famous Hellenistic mosaics that come to us in an excellent state of preservation.

A must-see.

From Thursday, 1st December, give yourself time to go on an exceptional ideal journey in the ancient city of Palestrina, retracing the ancients' stages towards the Sanctuary.

The Museum and the archaeological areas of Palestrina brought together in a single site, will provide an exceptional archaeological itinerary through distant space and time inside the ancient city.

And throughout December, you can come in for free.

📍 Museo Archeologico Nazionale di Palestrina MANP, Piazza della Cortina, 00036 Palestrina (RM).

🕒 Museum: every day from 9:00 am to 9:00 pm 🕒 Archaeological area: times vary according to the season.

The complex is managed by ⏩ Lazio Regional Museums Directorate

Check out all the locations of ⏩ Lazio Regional Museums

Images courtesy of Museo Archeologico Nazionale di Palestrina MANP

More you might like ⏩  The Board Behind

[wallpaperpainting]

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Rock paintings in Gobustan State Reserve, Azerbaijan (Photo: Wikimedia Commons Public Domain)

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“Nile Mosaic of Palestrina,” ca. 100 BCE (Photo: Wikimedia Commons Public Domain)

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[ahundredhundredheartbeats]

This image is from the Anne Walshe Bestiary

Pliny distinguishes between the Crocotta and Leucrocotta. He referred to the crocotta,

When crossed with [the hyena,] the Ethiopian lioness gives birth to the corocotta, that mimics the voices of men and cattle in a similar way. It has an unbroken ridge of bone in each jaw, forming a continuous tooth without any gum. 

He says of the leucrocotta,

the swiftest of all beasts, about the size of an ass, with a stag's haunches, a lion's neck, tail and breast, badger's head, cloven hoof, mouth opening right back to the ears, and ridges of bone in place of rows of teeth—this animal is reported to imitate the voices of human beings.

the description of the mouth opening ear to ear matches the above illustration. This matches the illustration of the leucrote found in the Rochester Bestiary as well:

Other sources differentiate these two beasts as well.

The Crocotta is a lion/hyena hyprid, according to the Aberdeen Bestiary:

In a part of Ethiopia the hyena mates with the lioness; their union produces a monster, named crocote. Like the hyena, it too produces men's voices. It never tries to change the direction of its glance but strives to see without changing it. It has no gums in its mouth. Its single, continuous tooth is closed naturally like a casket so that it is never blunted.

The same manuscript says of the Leucrota (several pages later)

Of the leucrota The beast called leucrota comes from India. It is the swiftest of all wild animals. It is as big as an ass, with the hindquarters of a deer, the chest and legs of a lion, the head [ms cuts off]

One ancient illustration that is clearly labeled as the Crocotta is found in the Nile Mosaic currently in the possession of the Museo Archeologico Nazionale di Palestrina. This image much more closely resembles the spotted hyena than any of the above illustrations.

Wikipedia combines these two mythical creatures, but the historical sources suggest that in ancient and medieval times, they were differentiated in marked ways, in both morphology (as seen above) and in geography (the crocotta from Ethiopia, the leucrota from India).

Cryptid of the Day: Crocotta

Description: A horse sized canine of Indian and Ethiopian mythology, the Crocotta legend was first brought to the west by Greek philosopher Strabo, then later by Roman historian Pliny. Pliny described the creature as hyena like, could give birth without the need of a mate, and can even impersonate the vocals of a human.

[achillesshield]

Reading Helen in Egypt - in Egypt

Reading Helen in Egypt – in Egypt

Reading HD’s Helen in Egyptwhile in Egypt is a special treat. Of course, how I got here is not nearly as fascinating as how Helen got here. Helen’s first trip to Egypt ended up taking more than a few lifetimes. And not just any lifetimes. In chronological order, it took the lifetimes of Stesichorus, Herodotus, Euripides, and Dio Chrysostom–a stretch of 745 years (630 BCE – 115 CE!)–to document…

[archaeoartist]

“I divided the earth from the heaven. I showed the paths of the stars. I ordered the course of the sun and the moon”. (Kyme Aretalogy in honour of Isis)

Since backpacking in Europe in 2001, I have been drawn to images and archaeological sites relating to Isis. There are some things that just strike the right chord for you. My first experience with Isis (in a Greco-Roman style) was at the Capitoline Museum in Rome.

Capitoline Isis, Rome (2014).

The statue fit my understanding of what classical sculpture was, and simultaneously had something a bit unusual. The features were so exquisitely carved, and the goddess’s accoutrements were unlike anything I had seen before. While visiting Pompeii during the same trip, I didn’t quite make the connection between the figure in the statue that I’d seen in Rome and the temple in which I had been standing.

During my undergraduate studies, I came across her again while reading Lucian’s ‘Metamorphosis (The Golden Ass)’. My attention was drawn to the way that Lucian described the power of this mysterious foreign goddess. What was so brash about Lucian’s novel was how much he subtly revealed, through winks and nods, about the mystery cult. He described esoteric celebrations, events and magical healing, all the while saying, ‘but it’s a secret, so I can’t really talk about it’. The story is familiar, in a Shakespearean kind of way, through all the hubris, metamorphoses, changes of fortune, and bawdy humour.

Isis-Thermoutis, Musee des Beaux Arts, Lyon (2017).

I was fascinated by this religious movement and how it functioned within the religiously pluralistic Roman society. Isis and her cult would ultimately provide some of the foundation of early Christian practices such as baptism, in addition to the depictions with Horus (the infant nursing on her lap is a dead ringer for the baby Jesus), presaging the metamorphosis into the Virgin Mary.

Isis (holding the snake) and Io (sitting atop the shoulders of the personified Nile) wall painting, Museo Nazionale Napoli (2014).

Jumping in with both feet, I was excited and wanted to understand more about this deity. However, my introduction to the topic began at a much later point in the history of the Cult of Isis; to understand the cult and its significance, I would need to go farther back and approach it more broadly.My Masters at the University of Edinburgh was spent exploring the Greek and Hellenistic routes of the cult, from multiple angles, to start filling in the picture (and creating many of my own pictures).

Some of my sketches of Isis statues over the last 4 years.

Isis’s power as a deity in Egypt rested in being the wife of Osiris and mother of Horus. She bridged the continuity of kingship from one king to his descendant. Her original function as the literal and symbolic role – as the throne and king-maker in Ancient Egypt – changes quite dramatically once the cult is exported into Greece and Italy.

Isis cradling Horus – from the MET archives.

While the period of Isis worship in the pre-Hellenistic era (before 323 BCE) is interesting, what has captivated me more specifically is what happens with the cult in the Hellenistic-to-Roman period. Like a character from Sailor Moon, she gained many headdresses, wands, tools, and visual associations with other deities (Demeter, Aphrodite, Athena, Nike).

This is the period that I focused on during my MSc, researching the symbols and iconography over time, with an emphasis on the tiny figurines used in her worship. What I discovered was that her strength was in her flexibility. Her image could be adapted to all needs, wants and interests. She could be a local or international deity. She could be closely affiliated with a particular ruling dynasty, or one specific location.

Another investigation looked at the cult’s relationship with Athenian government in Delos, and some of the territorial quarrels that occurred between temples run by different factions on the island. The evidence of a push and pull scenario between Delos’ new overlords (the Athenians) and the previous residents, in the mid-second century BCE. Running cults was big business and politically useful to establishing ones career, and the Athenians had no interest in allowing an Alexandrian ‘Egyptian’ to maintain a monopoly on the worship of Isis in this economically powerful port.

While few temples of Isis remain in even remotely good shape, Pompeii possesses on of the most famous examples.

Temple of Isis and her #1 fan, Pompeii (2016).

Pompeii had one of the best-preserved temples (though most of the decorations were long since removed and put in museums). It was fascinating to see the spread of Egyptian-looking artefacts which tend to denote cult membership. The items that were recovered from Pompeii are varied and showed decorations and materials of incredibly high quality that were made for, and used by, the Temple of Isis.

Another leg of the journey in my first large research project involved a trip to Palestrina (ancient Praeneste), some 40 km east of Rome. Part of what I wanted to see was the Egyptian artefacts, which remain some of the most exquisite examples of mosaic work from ancient history.

The Nile Mosaic of Palestrina, Italy (2014).

The Nile Mosaic of Palestrina was breath-taking in person and represented an interesting fusion of culture and appropriation of the Hellenistic Alexandrians and the native Egyptians. Although it is an uneven cultural balance, with the prioritising of the Macedonian elite over the native Egyptians.

  It is a rare gem of the exquisite mosaic work that was part of art market in Italy, before the Rome dominated the Mediterranean. It highlighted aspects of Egyptian cult which would find its way into Italy, though altered for Italian tastes.

 So, what is next?

Isiac procession relief, Palazzo Altemps, Rome (2014).

This September I will be stepping into the subject and delving deeper into urban design, Egyptian architecture and the art styles that appear in Roman cities. There are so many aspects and angles to investigate with this topic, and being able to work on a PhD toward this end is like a dream come true.

There are still so many sites, statues, and sistrums to see in my journey into my studies of this Cult of Isis!

Thank you for reading my blog!

A bientot!

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15. Studying the Regina Caeli: the journey so far into the cult of Isis. "I divided the earth from the heaven. I showed the paths of the stars. I ordered the course of the sun and the moon".