Janson revisited

Praxiteles: Hermes and Dionysus - 
Archeological Museum at Olympia

 Praxiteles. Know that name for the exam.

In the past few weeks, 'unpacking' from a recent trip to many of the famed archeological sites in Greece, I have revisited an old art textbook,  H.W. Janson's weighty 1962 History of Art. We pored over its pages with our undergrad art prof, the chain-smoking girls' dorm matron.  I can hear her beautiful eastern European accent and the little musical whimper she would make before speaking, as she took a last ladylike drag on her cigarette. So why can't I remember her name?

But Praxiteles' name I remember. I remember the terribly pedantic Janson speculating about the exquisite Hermes and Dionysus sculptural group. Strikes me that art history of the time was all about classifying and never about surrendering to beauty.

Janson states "it is of such high quality that it was long regarded as Praxiteles' own work...[and] emphasizes the unfortunate fact that we do not have a single undisputed original by any of the famous sculptors of Greece. Nevertheless the Hermes is the most completely Praxitelian statue we know. " (p. 116). I've included this link to Olympias' splendid Archeological Museum both for the astonishing closeups of the sculpture, and the museum's confident assumption that this is Praxilteles' work. 

In October, I met Praxiteles' Hermes and Dionysus, created in the 4th century BCE, at the astounding Archeological Museum at Olympia.  And in that lovely way that history and culture travel do, the meeting popped a few more pieces into place in my life's jigsaw. I met in person a sculpture that had only existed in black and white in a textbook in a darkened lecture theatre at Carleton U. in 1965 and a walked the place where it had stood in antiquity. And I stood where it had originally stood.

The 'meeting' took place at the Temple of Hera, one of my favourite spots on the vast Olympia site, home of the original Olympic games and the religious and social spectacles interwoven with Greek athletic events. The statue stood here in antiquity, and here, in 1877, it was rediscovered by a German archeological dig sanctioned in 1874 by the Greek government. Hermes (or most of him) was unearthed from clay that had protected the sculpture for all those years.

The ancient Olympia site is huge. It is also verdant. Such a surprise after the sere desert of Mycenae to enter the Mediterranean lushness of olive, plane, oak, cypress, pine, citrus trees, herbs and wildflowers. The nearby Alfeios River creates a gentle climate conducive to lush growth.

The green softens the terrible ruin all about. The once great Temple of Zeus, toppled by earthquake, forgotten by history. After our guided tour I returned to his temple,  imposing even in its ruined state, finding my way thanks to interpretive panels.  

The huge complex of athletic buildings- training areas and accomodation/meeting locations - plus religious and memorial structures on the UNESCO World Heritage Site was a bit overwhelming, some of it only now becoming clearer as I revisit photos, and explore sources. Suppose it's out of the question to go back.

So for this post, I'll leave us here at theTemple of Hera. Hera was the goddess of marriage. She was the wife of Zeus and reigning female goddess, venerated even earlier, when the creative force was conceived of as a woman.  Here's a link to Greeka, a travel website with photos and a brief history. (Ignore the bit about Alabama., USA. But yet, the "republic"once in love with the ideal of democracy and fascinated by Greece where it began features some faithful reproductions of classical buildings. I remember seeing the full-size replica of the Parthenon, back in 2007, in Nashville of all places. Truely.)

 the Olympic flame is lit on Hera's former altar 

There's a good site plan at this website Temple of Hera if you're interested in a wander.  Hera's is one of the oldest monumental temples in Greece, a 6th century BCE Doric temple once flaunting sixteen columns on each long side, six at each end.  What we see today are just the basement and bases of columns - and that's enough to render me speechless.

This very terracotta disk stood at the apex of the roofline: it continues to inspire awe, now in the  sanctity of the archeological museum.

Here's a video of the Olympia site created by Manuel Bravo whose work I like. It features AI recreations of the buildings and the site, and live video. Not quite as good as being there, but a great way to revisit.

And I'll just get back to remembering...while the pieces continue to fall into place.