The Tazza Farnese is a sardonyx cameo similar in form to a Greek phiale or Roman patera.[1][2] It features relief carvings on both its exterior and interior surfaces and is around twenty centimeters in diameter. [1][2] There is no surviving evidence regarding when and why the piece was made, though there is general consensus among scholars that it was created in Alexandria, due to the blending of Ancient Egyptian and Ancient Greek or Roman iconography found in its relief carvings. This provides a range of time wherein it may have been created, spanning from approximately 300 B.C.E. to 20 B.C.E. [1][3]
History edit
The origin of the Tazza Farnese is unknown, leaving archaeologists and art historians to theorize a date and purpose for its creation. While its size and the material used are usually considered, theories of origin are mainly arrived at via individual analysis of the inherent iconography of the piece, and therefore vary from one analysis to the next.[1] [2][3]
Many archaeologists and art historians attribute the Tazza to the Hellenistic Period, asserting that its blending of Greek and Egyptian cultural symbols, as well as the funds necessary to commission such a large gemstone cameo, tie it to the Ptolemaic court.[3] Though not a widely held view, more recent analyses of the piece have assigned it a later date in the Augustan Period.[1][2]
After Octavian's conquest of Egypt in 31 BC, the Farnese Cup was acquired by the Treasury of Rome. It was later brought to Byzantium, then back west after this city was sacked in 1204 during the Fourth Crusade. By 1239 it was in the court of Frederick II,[4] from which it then reached the Persian court of Herat or possibly Samarkand, where a contemporary drawing documents it;[5] thence it found its way to the court of Alfonso of Aragon in Naples, where Angelo Poliziano saw it in 1458. Lorenzo the Magnificent finally purchased the famous "scutella di calcedonio" in Rome, in 1471. From there it came into the possession of the Farnese family through Margaret of Austria and thus into the Naples National Archaeological Museum[6]
Iconography edit
Though some analyses of the iconography of the Tazza Farnese build upon and expand previous analyses, each scholarly writing on the piece leads to a slightly different theory about its inherent meaning.
Eugene J. Dwyer edit
In his analysis of the Tazza Farnese, Dwyer builds upon previous analyses by experts in the field, including Ennio Quirino Visconti, Frederic Louis Bastet, and Reinhold Merkelbach, among others. Dwyer's two major assertions are that the iconography found in the interior and exterior carvings is a sophisticated mix of Greek and Egyptian philosophic and religious concepts and that the composition of the carved figures correspond to specific constellations which, in their orientation, resemble a map of the night sky during the time of year in which the flooding of the Nile would have occurred. In assigning the piece a multi-faceted religious and philosophic meaning, Dwyer repeatedly references the Corpus Hermeticum. More specifically, he points to the Poimandres and how the figures of the interior carving closely match the elements it presents in its discussion of the creation of life. He uses this reference to assign each figure a corresponding Greek and/or Egyptian god. In this sense, Dwyer sets up the piece as a direct illustration of the creation of life that would have been easily understood by both Greeks and Egyptians living at the time the Tazza was created. Though he credits Merkelbach with first coming up with the theory, Dwyer also discusses the figures' and their placement on the piece as corresponding to specific constellations in an astronomical map. In particular, Dwyer assigns each figure to constellations that would be seen together in the sky during the time of year when the flooding of the Nile took place. He argues that through this apparent map of the night sky, the creator of the Tazza was directly referencing the time of the Nile flooding in order to present more fully the concept of divine creation of life. [3]
Julia C. Fischer edit
Fischer is one of the few who have assigned the Tazza Farnese an Augustan date rather than a Hellenistic one. Her analysis of the piece therefore focuses on reexamining preconceived notions arrived at by other scholars who have assigned it a Hellenistic date, as well as attempting to provide evidence for her assertion of an Augustan date. Fischer's main evidence for placing the piece in the Augustan period is its size and the material it was carved from. She discusses the unstable economic position of the Ptolemaic Court, asserting that the funds for such a piece would not have been available until the improvement of the economy during the Augustan period. Fischer also discusses that while the piece features a mix of Greek and Egyptian figures, concepts, and methods, it also contains distinctly Roman aspects, especially in the Romanesque features of the Gorgon carving found on the piece's exterior. [1]
John Pollini edit
Like Julia C. Fischer, Pollini attributes the Tazza Farnese to the Augustan period in Rome. His evidence is also based on the size and material used, but Pollini's primary focus is providing analysis of the piece's iconography in an attempt to prove that it was made during Augustus' reign, and was possibly even commissioned by Augustus himself. To this end, Pollini discusses the figures carved on the inner and outer surfaces, and how the symbolism found in each relates it to an aspect or region of the Augustan empire. Pollini's interpretation of the piece's iconography leads him to assert that it was meant to convey the Golden Age of Augustus and act as a sort of talisman to propagate the strength of the empire. [2]
References edit
- ^ a b c d e f Cite error: The named reference
:0was invoked but never defined (see the help page). - ^ a b c d e Cite error: The named reference
:1was invoked but never defined (see the help page). - ^ a b c d Cite error: The named reference
:2was invoked but never defined (see the help page). - ^ The first fully documented appearance according to Museo Archeologico Nazionale di Napoli website
- ^ Museo Archeologico Nazionale di Napoli
- ^ Inv. MANN 27611.
Notes edit
External links edit
Tazza Farnese Working Outline edit
The Tazza Farnese is a sardonyx cameo similar in form to a Greek phiale or Roman patera.[1][2] It features relief carvings on both its exterior and interior surfaces and is around twenty centimeters in diameter. [1][2] There is no surviving evidence regarding when and why the piece was made, though there is general consensus among scholars that it was created in Alexandria, due to the blending of Ancient Egyptian and Ancient Greek or Roman iconography found in its relief carvings. This provides a range of time wherein it may have been created, spanning from approximately 300 B.C.E. to 20 B.C.E. [1][3]
A. Excavation/Discovery
B. Theories Regarding Origin
- 1. Where it was created
- 2. Why it was created
- 3. When it was created
C. Theories Regarding Style
- 1. Hellenistic
- 2. Augustan/Roman
D. Theories Regarding Iconography
- 1. E. Q. Visconti - want to find original source, discussed in secondary sources
- 2. F. L. Bastet - want to find original source, discussed in secondary sources
- 3. John Pollini
- 4. Eugene J. Dwyer
- 5. D. B. Thompson
- 6. Julia Fischer
Potentially others as I read more sources. I want to present as many theories as possible.
Excavation/Discovery edit
Need to find a reliable source. As of now, Julia C. Fischer mentions its rediscovery in the 15th century and cites Medusa's Gaze: The Extraordinary Journey of the Tazza Farnese by M. Belozerskya.[1] So far I can't seem to find a copy of the book except for purchase, which I may end up doing if in searching I can't find a primary source regarding the piece's emergence.
Origin and Style edit
The origin of the Tazza Farnese is unknown, leaving archaeologists and art historians to theorize a date and purpose for its creation. While its size and the material used are usually considered, theories of origin are mainly arrived at via individual analysis of the inherent iconography of the piece, and therefore vary from one analysis to the next.[1] [2][3]
Many archaeologists and art historians attribute the Tazza to the Hellenistic Period, asserting that its blending of Greek and Egyptian cultural symbols, as well as the funds necessary to commission such a large gemstone cameo, tie it to the Ptolemaic court.[3] Though not a widely held view, more recent analyses of the piece have assigned it a later date in the Augustan Period.[1][2]
Iconography edit
Though some analyses of the iconography of the Tazza Farnese build upon and expand previous analyses, each scholarly writing on the piece leads to a slightly different theory about its inherent meaning:
Eugene J. Dwyer edit
In his analysis of the Tazza Farnese, Dwyer builds upon previous analyses by experts in the field, including Ennio Quirino Visconti, Frederic Louis Bastet, and Reinhold Merkelbach, among others. Dwyer's two major assertions are that the iconography found in the interior and exterior carvings is a sophisticated mix of Greek and Egyptian philosophic and religious concepts and that the composition of the carved figures correspond to specific constellations which, in their orientation, resemble a map of the night sky during the time of year in which the flooding of the Nile would have occurred. In assigning the piece a multi-faceted religious and philosophic meaning, Dwyer repeatedly references the Corpus Hermeticum. More specifically, he points to the Poimandres and how the figures of the interior carving closely match the elements it presents in its discussion of the creation of life. He uses this reference to assign each figure a corresponding Greek and/or Egyptian god. In this sense, Dwyer sets up the piece as a direct illustration of the creation of life that would have been easily understood by both Greeks and Egyptians living at the time the Tazza was created. Though he credits Merkelbach with first coming up with the theory, Dwyer also discusses the figures' and their placement on the piece as corresponding to specific constellations in an astronomical map. In particular, Dwyer assigns each figure to constellations that would be seen together in the sky during the time of year when the flooding of the Nile took place. He argues that through this apparent map of the night sky, the creator of the Tazza was directly referencing the time of the Nile flooding in order to present more fully the concept of divine creation of life. [3]
Julia C. Fischer edit
Fischer is one of the few who have assigned the Tazza Farnese an Augustan date rather than a Hellenistic one. Her analysis of the piece therefore focuses on reexamining preconceived notions arrived at by other scholars who have assigned it a Hellenistic date, as well as attempting to provide evidence for her assertion of an Augustan date. Fischer's main evidence for placing the piece in the Augustan period is its size and the material it was carved from. She discusses the unstable economic position of the Ptolemaic Court, asserting that the funds for such a piece would not have been available until the improvement of the economy during the Augustan period. Fischer also discusses that while the piece features a mix of Greek and Egyptian figures, concepts, and methods, it also contains distinctly Roman aspects, especially in the Romanesque features of the Gorgon carving found on the piece's exterior. [1]
References edit
- ^ a b c d e f g Breaking with convention in Italian art. Fischer, Julia C.,. Newcastle upon Tyne. ISBN 9781443895026. OCLC 991065064.
{{cite book}}: CS1 maint: extra punctuation (link) CS1 maint: others (link) - ^ a b c d Pollini, John (1992). "The Tazza Farnese: Augusto Imperatore "Redeunt Saturnia Regna!"". American Journal of Archaeology. 96 (2): 283–300. doi:10.2307/505926.
- ^ a b c d Dwyer, Eugene J. (1992). "The Temporal Allegory of the Tazza Farnese". American Journal of Archaeology. 96 (2): 255–282. doi:10.2307/505925.
Editing Plans and Sources for the Tazza Farnese edit
The history section of the Tazza Farnese article briefly discusses its journey from Egypt in 31 BCE to its present day location in the Naples National Archaeological Museum, but has no mention of where it was created and why it was created. I’d like to expand on its origin quite a bit more if possible and, if not possible, I’d like to explain why (i.e., perhaps there are conflicting accounts on why and where it was made). I think the article would also greatly benefit from the introduction of a section regarding the specific materials the cup is comprised of and the significance of these materials, as well as a section on the subjects carved into the cup and the significance of said subjects. The article touches on the carvings briefly already, but in a cursory way. Finding and using information from many different sources is my main and overarching goal, as I think a lack of sources is the article’s primary issue.
Sources compiled so far:
Belson, J. (1981). THE GORGONEION IN GREEK ARCHITECTURE. (VOLUMES I AND II), ProQuest Dissertations and Theses.
Dwyer, E. (1992). The Temporal Allegory of the Tazza Farnese. American Journal of Archaeology, 96(2), 255.
Fischer, Julia C. Breaking with Convention in Italian Art. , 2017. Print.
J. Paul Getty Museum. (1996). Alexandria and Alexandrianism (Getty Publications virtual library). Malibu, Calif.: J. Paul Getty Museum.
Marest-Caffey, L., Stewart, Andrew F., Davis, Whitney, Hallett, Christopher, & Papazarkadas, Nikolaos. (2017). What's in a Face? Rethinking the Greek Portrait through Hellenistic Glyptic, ProQuest Dissertations and Theses.
Pollini, John. “The Tazza Farnese: Augusto Imperatore ‘Redeunt Saturnia Regna!".” Vol. 96, no. 2, 1992, pp. 283–300., doi:10.2307/505926. Accessed 6 Oct. 2017. Babuwat (talk) 05:05, 6 October 2017 (UTC)
Article Evaluation: Brygos Painter
- no source cited at all for opening descriptive paragraph
- opening paragraph contains stated personal opinion - "...he is among the most important cup painters of his time."
- uses words like "epoiesen" and "egrapsen" without really defining why they are important/used in relation to painters or potters, might be better to link to entry with explanation, although upon searching no such entry seems to exist, so best to either explain or take the time to make entries for those terms, or not use them altogether
- reads almost like a paper, possibly close paraphrasing, definitely holds opinions (ex.: "Some scholars persist in believing...", "this seem problematic..."), wording isn't fully clear, not direct presentation of fact
- these issues hold throughout the article (ex.: Forms and Output section has zero citations)
- I don't understand the the bibliography section in relation to the references section, it has a few names from the references section but not all of them and one that isn't even cited, is the purpose of it not to link to the cited references? Babuwat (talk) 21:21, 21 September 2017 (UTC)
testing it out Babuwat (talk) 23:55, 15 September 2017 (UTC)