It is essential to draw upon other similar gold wreaths found around the Mediterranean to better understand the gold wreath at the Getty Villa. Bettina Tsigarida’s “A New Gold Myrtle Wreath From Central Macedonia in the Collection of the Archaeological Museum of Thessaloniki” published in The Annual of the British School at Athens, discusses a gold myrtle wreath, which was acquired by the Getty Museum in 1993, and sent back to Greece in 2007. This gold myrtle wreath currently resides in the collection of the Archaeological Museum of Thessaloniki. This particular article concentrates on provenance, dating, and comparisons. There is a detailed analysis of the structures of different gold wreaths and parallels are drawn between them. Tsigarida
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Nanny Marinatos’ “Patron Goddesses and Male identity” chapter in The Goddess and the Warrior, discusses the representation of male valor in Greek art that showcases the physical triumph of Olympic athletes. Specifically, Marinatos discusses a clay plaque of a goddess from Magna Graecia, an area of Southern Italy that from Latin translates into “Great Greece.” There are three narrative registers on this clay plaque. The first register illustrates a man carrying the dead body of a gigantic figure. The second register showcases young maidens holding hands in a type of ritualistic dance. Lastly, in the third register, young males hold hands. The first narrative refers to a scene of the Trojan War, in which Ajax carries the body of Achilles. Meanwhile, the goddesses depict a type of initiation for the young male youths at the bottom of the plaque. The focus of this plaque is a coming of age story. The emphasis on the pubescent, male youths relates to the glorification of the male athletes, who participated in the Ancient Olympic Games. It is fitting that goddesses are a part of this narrative on the clay plaque, due to the fact that the ancient games’ origins were mythologically attributed to the gods. The representation of goddesses in Ancient Greek art go on to establish a particular male identity. Although wreaths are not …show more content…
These wreaths permeated every aspect of life. It is uncertain whether the particular gold wreath at the Getty Villa is a funerary object paying homage to a young woman’s maidenhood, or a votive offering to the gods, particular Apollo. However, the wreath’s wiring and attention to details were meant to imitate its ephemeral counterpart. This wreath is an object of true beauty. It would have been seen as an attempt to attain everlasting beauty through fine craftsmanship. By discussing the iconography of laurel wreaths, it is clear that the object communicated a variety of messages about the wearer. As the representation of the laurel wreath is discussed in sculpture and pottery, it is essential to understand that wreaths not only showcased rank, but also had the ability to elevate one’s status. These symbols of status are continually being reused in Western contemporary culture in order to communicate everlasting
Nanny Marinatos’ “Patron Goddesses and Male identity” chapter in The Goddess and the Warrior, discusses the representation of male valor in Greek art that showcases the physical triumph of Olympic athletes. Specifically, Marinatos discusses a clay plaque of a goddess from Magna Graecia, an area of Southern Italy that from Latin translates into “Great Greece.” There are three narrative registers on this clay plaque. The first register illustrates a man carrying the dead body of a gigantic figure. The second register showcases young maidens holding hands in a type of ritualistic dance. Lastly, in the third register, young males hold hands. The first narrative refers to a scene of the Trojan War, in which Ajax carries the body of Achilles. Meanwhile, the goddesses depict a type of initiation for the young male youths at the bottom of the plaque. The focus of this plaque is a coming of age story. The emphasis on the pubescent, male youths relates to the glorification of the male athletes, who participated in the Ancient Olympic Games. It is fitting that goddesses are a part of this narrative on the clay plaque, due to the fact that the ancient games’ origins were mythologically attributed to the gods. The representation of goddesses in Ancient Greek art go on to establish a particular male identity. Although wreaths are not …show more content…
These wreaths permeated every aspect of life. It is uncertain whether the particular gold wreath at the Getty Villa is a funerary object paying homage to a young woman’s maidenhood, or a votive offering to the gods, particular Apollo. However, the wreath’s wiring and attention to details were meant to imitate its ephemeral counterpart. This wreath is an object of true beauty. It would have been seen as an attempt to attain everlasting beauty through fine craftsmanship. By discussing the iconography of laurel wreaths, it is clear that the object communicated a variety of messages about the wearer. As the representation of the laurel wreath is discussed in sculpture and pottery, it is essential to understand that wreaths not only showcased rank, but also had the ability to elevate one’s status. These symbols of status are continually being reused in Western contemporary culture in order to communicate everlasting