Guide to the Art

12 Pages·2014·18.29 MB·English

Old Western Culture
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A Christian Approach to the Great Books A

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T H E R O M A N S
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TTHHEE AAEENNEEIIDD
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The Meeting of Dido and Aeneas
Sir Nathaniel Dance-Holland, AD 1766, oil on canvas, 124 × 174 cm.
The Aeneid is the fi rst unit of The Romans, year two in the Old Western
Vergil and
Culture curriculum on the Great Books. This unit unpacks one the
greatest classics of the West, the Aeneid of Vergil, which profoundly Other Roman Epics
infl uenced both Roman society and medieval Christianity. Wesley
Callihan guides the student through the plot, poetic devices, back-
ground, philosophy, history, and beauty of the poem, as well as its
1
lasting infl uence on Western culture and civilization. The course also
briefl y covers the epics of other Roman authors: Ovid, Lucretius,
Lucan, and Statius.
Wesley Callihan
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ABOUT ROMAN ROADS MEDIA The Close of the Silver Age, Lucas Cranach Galtymore (Arlo Hill) from the Black Road,
the Elder, c. AD 1530 Joe Bater, AD 2006
Roman Roads Media combines its technical expertise Deucalion and Pyrrha, Peter Paul Rubens, Theseus and Ariadne, Willem Strijcker, AD
with the experience of established authorities in the AD 1636 1657
Massacre of the Innocents, Pieter Brueghel A Soul Taken Away by an Angel, Jean-Leon
fi eld of classical education to create quality video re-
the Elder, AD 1565–67 Gerome, AD 1853
sources tailored to the homeschooler. Just as the fi rst Ovid Among the Scythians, Eugène Delac- The Resurrection, Sebastiano Ricci, AD
century roads of the Roman Empire were the physical roix, AD 1862 1715–16
means by which the early church spread the gospel far Ovid, Ettore Ferrari, AD 1887 And the Sea Gave Up the Dead Which Were in
and wide, so Roman Roads Media uses today’s technol- Dying Eurydice, Charles-François Lebœuf, It, Frederic Leighton, c. AD 1892
AD 1822 The Finding of Moses, Lawrence Alma-Ta-
ogy to bring timeless truth, goodness, and beauty into
Persephone Supervising Sisyphus Pushing His dema, AD 1904
your home. By combining clear instruction with visual Rock, “Swing Painter,” c. 540 BC Moses and the Burning Bush, Attributed to
aids and examples, we help inspire in your children a The Deluge, Gustave Doré, AD 1866 Dierick Bouts the Elder, AD 1465–70
lifelong love of learning. As homeschool graduates themselves, our producers Portrait of Fyodor Dostoyevsky, Vasily Perov,
know the value of excellent educational tools, and strive to ensure that Ro- Lecture 11 AD 1872
Landscape with Pyramus and Thisbe, Jasper Theseus Killing the Minotaur, Giovanni Bat-
man Roads’ materials are of the highest caliber.
van der Lanen, AD 1607–24 tista Cima da Conegliano, AD 1505
Aeneas and Dido in the Underworld, Wence-
slaus Hollar, 17th cent. AD Lecture 12
ABOUT OLD WESTERN CULTURE The Judgment of Midas, Hendrik Goltzius, Adam and Eve in Paradise (The Fall), Lucas
AD 1590 Cranach the Elder, AD 1533
Old Western Culture: A Christian Ap- The Judgment of Midas, Domenichino and The Tomb of Publio Vibio Mariano, Giovanni
proach to the Great Books is an integrat- his assistants, 17th cent. AD Battista Piranesi, AD 1756
ed humanities course designed to give The School of Athens, Raphael, AD 1511 Scene in Purgatory, Gustave Doré, AD 1861
King Midas with His Daughter, Walter Triumphant Achilles, Franz Matsch, AD 1892
students an overview of Western cul-
Crane, AD 1893 Lucretius, Unknown Illustrator, AD 1683
ture by studying the great books from The Last Kiss of Romeo and Juliet, Frances- The Magdalen Reading, Rogier van der
a Christian perspective. The video se- co Hayez, AD 1823 Weyden, AD 1435–38
ries consists of four courses, designed Children of Niobe, Jacques-Louis David, Democritus and Heraclitus, Peter Paul
to be completed over four years: AD 1772 Rubens, AD 1603
Jason and Medea, John William Water- The Sacrifi ce of Iphigeneia, Charles de La
house, AD 1907 Fosse, AD 1680
Year 1: The Greeks Orpheus Leading Eurydice from the Under- Eteocles and Polynices, Giovanni Battista
Year 2: The Romans world, Jean-Baptiste-Camille Corot, Tiepolo, AD 1725–30
Year 3: Christendom AD 1861 The Blind Oedipus Commending His Children to
Year 4: Early Moderns Orpheus and Eurydice, Peter Paul Rubens, the Gods, Bénigne Gagneraux, AD 1784
AD 1636–38 Relief of the Tauroctony of the Mithra Myster-
Orpheus and the Bacchantes, Gregorio Laz- ies, Unknown, AD 3rd cent.
zarini, c. AD 1710 Augustus of Prima Porta, Unknown, 1st
The Death of Orpheus, Thomas Jones, c. cent. AD
AD 1770 Epicurus, Unknown Sculptor, 3rd cent. BC
The Adolescent Bacchus, Caravaggio, AD Venus de Milo, Unknown Sculptor, c. 130–
Published by Roman Roads Media
739 S. Hayes Street, Moscow, Idaho 83843 1595–97 100 BC
208-596-6936 | www.romanroadsmedia.com Midas Washing at the Source of the Pactolus, Pompey the Great, Unknown, c. 60 BC
Bartolomeo Manfredi, AD 1617–19 The Birth of Venus, Sandro Botticelli, AD
Copyright 2014 by Roman Roads Media, LLC Elisha Refuses the Gifts of Naaman, Pieter de 1483–85
Guide to the Art: David Foucachon and Valerie Anne Bost Grebber, AD 1637
Cover Design: Rachel Rosales King Midas, Andrea Vaccaro, c. AD 1670
Copy Editing and Interior Layout: Valerie Anne Bost Portrait of Edmund Spenser, Unknown, 16th
Printed in the United States of America cent. AD
All rights reserved.
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Lecture 7 Lecture 9 Introduction and Overview
King Latinus in Council, Wenceslaus Hol- Camillia at War from Virgil’s Aeneid, Giaco-
lar, 17th cent. AD mo del Po, AD 1708-10 How to Use This Course
Amata and Lavinia among the Bacchantes, The Fight Between Aeneas and King Turnus,
Wenceslaus Hollar, 17th cent. AD Giacomo del Po, c. AD 1700
Evander and Aeneas at Palentium, Wenceslas The Meeting of Turnus and Camilla, Wence- Old Western Culture is a four-year curriculum covering the Great Books
Hollar, AD 17th slaus Hollar, 17th cent. AD of Western Civilization. The four years are divided into The Greeks, The
Lavinia Before the Altar, Mirabello Cavalo- The Inferno, Canto 13, Gustave Doré, 19th
Romans, Christendom, and Early Moderns. For centuries, study of the Great
ri, c. AD 1565 cent. AD
Venus and Jupiter, Raphael, AD 1517–18 Aeneas’ Flight from Troy, Federico Barocci, Books lay at the heart of what it meant to be educated. It was the educa-
The Combat Between Aeneas and Turnus, Au- AD 1598 tion of the Church Fathers, of the Medieval Church, of the Reformers,
reliano Milani, AD 1708 Dido and Aeneas, Pierre-Narcisse Guérin,
and the Founding Fathers of the Unites States. It is a classical, Christian,
Wedding of Peleus and Thetis, Abraham c. AD 1815
Bloemaert, AD 1638 The Death of Camilla, Landi Gaspare, 18th integrated humanities curriculum created with the purpose of preserving
The Rape of Ganymede, Peter Paul Rubens, cent. AD a knowledge of the books and ideas that shaped Western Civilization. Old
AD 1611 The Return of Jephthah, Giovanni Antonio Western Culture is a high-school curriculum intended for grades 9–12 (age
Orestes Pursued by the Furies, John Singer Pellegrini, AD 1700–25
14 and up). Adults will also be engaged by and benefi t from the series.
Sargent, AD 1921 Thetis Bringing Armor to Achilles, Benjamin
Orestes Pursued by the Furies, William-Adol- West, AD 1806
phe Bouguereau, c. AD 1862 Diana of Versailles, Leochares, 1st cent. AD Recommended Schedule
Ascanius Shooting the Stag of Sylvia, Claude Camilla and Metabus Escaping into Exile, Old Western Culture is designed to accommodate a traditional nine-week
Lorrain, AD 1682 Johannes Zainer, c. AD 1474
term (for a thirty-six-week school year). A recommended schedule is pro-
Venus Presenting Arms to Aeneas, Nicolas
Poussin, AD 1639 Lecture 10 vided below. We expect the average student to spend one to three hours per
Venus Ordering Arms from Vulcan for Aeneas, The Age of Iron, Hendrik Goltzius, AD 1589 day on this course: fi rst completing the assigned readings and answering
Jean Restout, AD 1717 Lycaon Turning into a Wolf, Hendrick Golt- the workbook questions under the “Reading” header, and then watching
Hera Campana, Unknown, 2nd cent. AD zius, AD 1589
the lectures and answering the video questions under the “Lecture” header.
Diluvium (The Flood), Antonio Tempesta,
Lecture 8 17th cent. AD
Venus Brings Aeneas His Weapons, Wence- Relationship of Heaven and Earth, Robert Materials
slaus Hollar, 17th cent. AD Fludd, AD 1617 • DVD Lessons. Instructor Wes Callihan’s deep knowledge of the clas-
Nisus Slaying Volscens, Wenceslaus Hollar, Odin, the Wanderer, Georg von Rosen, AD
sics and decades of teaching experience are a rich resource for home-
17th cent. AD 1886
Trojan Council, Unknown Illustrator of the Orpheus Surrounded by Animals, Ancient school families.
Vatican Vergil, c. AD 400 Roman Mosaic, Unknown Date
Aeneas Before Latinus, Ferdinand Bol, AD The Numbering at Bethlehem, Pieter Brueghel • The Great Books. Old Western Culture immerses students in reading
1669 the Elder, AD 1566 the classics themselves rather than just reading about them. Families
Meeting of Hector and Andromache, Gaspare The Age of Bronze, Pietro da Cortana, c.
have several options for acquiring the texts:
Landi, AD 1794 AD 1640
Hector’s Departure from Andromache, Johann Landscape with the Fall of Icarus, Pieter 1. Purchase the recommended translations. Find a list, including
Heinrich Wilhelm Tischbein, AD 1812 Brueghel the Elder, c. AD 1558
Amazon links, under the “Books” link at romanraodsmedia.com.
Farewell of Hector and Andromache, Anton The Minotaur, George Frederic Watts, AD
2. Use copies you already own, even if they’re not the recommend-
Losenko, AD 1773 1885
The Death of Pallas, Jacques-Henri Sablet, Daedalus and Icarus, Andrea Sacchi, c. AD ed translations. Mr. Callihan frequently emphasizes the bene-
18th cent. AD 1645 fit of referencing multiple translations. To facilitate the use of
Nisus and Euryalus, Jean-Baptiste Roman, The Fall of Icarus, Jacob Peter Gowy, AD
multiple translations, all references are given by line or section
AD 1827 1635–37
Odysseus and Dimoedes, Unknown Sculp- Nymphs Listening to the Songs of Orpheus, number rather than page number. We generally use the original
tor, 18th cent. AD Charles Jalabert, AD 1853 Latin line numbers, which many translations display as a range
Odysseus and Dimoedes Stealing Thracian The Golden Age, Lucas Cranach the Elder, at the top of the page, rather than in the side margins.
Horse, Lycurgus Painter, c. 360 BC c. AD 1530
20 Old Western Culture Year 2: The Romans Unit 1: The Aeneid 1
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3. Download ebook versions of the original source texts at ro- The Trojan Horse, Henri Paul Motte, AD Fama, Robert Henze, AD 1890
manroadsmedia.com/materials. These digital text versions are 1874 Statue of Jupiter, 1st cent. AD
Ulysses at the Court of Alcinous, Francesco Dido’s Death, Augustin Cayot, AD 1711
usually not the recommended translations, but see note above
Hayez, AD 1814–15 The Conversion of St. Augustine, Fra Angelico,
regarding the benefit of multiple translations. Aeneas Carrying His Father Anchises from 15th cent. AD
Troy, Daniel Van Heil, 17th cent. AD
• The Student Workbook. Purchase a hard copy, or download a PDF The Procession of the Trojan Horse in Troy, Lecture 6
at romanroadsmedia.com/materials. The workbook questions allow Giovanni Domenico Tiepolo, AD 1773 Aeneas and the Sibyl in the Underworld, Jan
Laocoön and his Sons, Hagesandros, Athene- Brueghel the Younger, c. AD 1630
students to test their understanding of the reading assignments and doros, and Polydoros, 1st cent. BC The Descent of Aeneas into Hell, Master of
the lectures. Cassandra, Evelyn De Morgan, AD 1898 the Aeneid Legend (French woodcut-
Helen Recognising Telemachus, Son of Odys- ter), c. AD 1530–40
• Guide to the Art. This insert included with every DVD extends the seus, Jean-Jacques Lagrenée, AD 1795 Women at Work, Wenceslas Hollar, AD 1654
curriculum into an exploration of ancient art and more recent artistic Aeneas’ Flight from Troy, Federico Barocci, Aeneas and Dido in the Underworld, Wence-
AD 1598 slaus Hollar, 17th cent. AD
responses to the literature. Venus Preventing Her Son Aeneas from Killing The Golden Bough, Wenceslaus Hollar, AD
Helen of Troy, Luca Ferrari, c. AD 1650 1654
• Additional Resources. Visit romanroadsmedia.com/materials for an The Anger of Achilles, Jacques-Louis David, Aeneas and Charon, Wenceslaus Hollar,
up-to-date list of additional resources. AD 1819 AD 1654
The Death of Priam, Tadeusz Kuntze, AD Aeneas in the Underworld, Wenceslaus Hol-
Additional Assignments 1756 lar, 17th cent. AD
Andromache and Pyrrhus, Pierre-Narcisse The Descent into the Abyss on Geryon’s Back,
In addition to the reading, lectures, and workbook questions, students Guérin, AD 1810 Gustave Dore, AD 1861
will complete the following: The Legend of Polydorus, Titian, AD Lazarus and the Rich Man, Gustave Dore,
1505–10 AD 1891
• Term Paper. Students may choose any topic of interest from the read- Aeneas and his Companions Fighting the Har- Lake Avernus: Aeneas and the Cumaean Sybil,
ings or lectures. We recommend a paper length of 750–1,200 words. pies, François Perrier, AD 1646–47 J. M. W. Turner, AD 1814–15
Odysseus Consulting the Shade of Tiresias, Aeneas and the Sibyl, Unknown, c. AD 1800
The Dolon Painter, 4th cent. BC Cumaean Sibyl, Unknown, c. AD 1626
• Final Exam. Visit www.romanroadsmedia.com/materials to down- Odysseus and Polyphemus, Arnold Böcklin, Dante and Virgil, William-Adolphe Bou-
load the most recent fi nal exams. Two options, Exam A and Exam AD 1896 guereau, AD 1850
B, are provided. The exams are similar in style and diffi culty, but the Paolo and Francesca, Ary Scheffer, AD 1854
Lecture 5 Charon Carries Souls Across the River Styx,
content varies. Students who score lower than 90 percent on Exam A
Dido and Aeneas, Wenceslas Hollar, AD 1654 Alexander Dmitrievich Litovchenko,
should take Exam B two days later to help reinforce subject mastery. Mercury Appearing to Aeneas, Giovanni Bat- AD 1861
tista Tiepolo, AD 1757 Fallen Angels in Hell, John Martin, c. AD
Age Level Augustine in Prayer, Sandro Botticelli, AD 1841
1480 Sisyphus, Titian, AD 1548–49
In Old Western Culture students will encounter mature themes such as pa-
Trojans at Carthage, Act III, Henri Fan- Tantalus, Gioacchino Assereto, c. AD
ganism, sexual immorality, detailed battle descriptions (mostly in actual tin-Latour, AD 1888 1630–40
reading), and nudity in classical painting and sculpture. We recommend Dido and Aeneas, Pierre Narcisse Guérin, Vision of the Elysian Fields, Sebastiano Con-
the series for ages fourteen and above, but of course parents will want AD 1819 ca, c. AD 1740
The Death of Dido, Joseph Stallaert, AD 1872 Sacrifi ce of Isaac, Caravaggio, c. AD 1603
to consider the maturity levels of their children and decide whether Old
Dido and Aeneas (Detail), Pierre Narcisse The Trojan Women Setting Fire to Their Fleet,
Western Culture will be appropriate. Guérin, AD 1819 Claude Lorrain, AD 1643
The Hunt of Dido and Aeneas, Jean Raoux, Plate with Palinurus Overboard, Francesco
AD 1730 Xanto Avelli da Rovigo, AD 1535
The Death of Dido, Heinrich Füger, AD 1792 Aeneas and Anchises, Pierre Lepautre, AD
The Royal Hunt of Dido and Aeneas, Frances- 1697
co Solimena, AD 1712–14 Hera Campana, Unknown, AD 2nd cent.
Henry Purcell, John Closterman, 18th Harrowing of Hell, Unknown, Image AD
cent. AD 12th cent.; Text 15th cent.
2 Old Western Culture Year 2: The Romans Unit 1: The Aeneid 19
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Comprehensive List of Artwork in
DtLTaurheereLecel vpétsCuoe rihe rnndser eieGO s1entéplitdareenô drW m iMinneetTs a,to trhhce ta.erye rnA rl tse G DC’hs rsLiu so1ealtnt9oseust6rr k.y3Pe s–.br 8a:Ty 3y Theeehrx, p leiJsl otHe rbaiinneslg-to owmrLA orieereenDecfles itaodeusocf r, tP tesGhr et3eisho ewevn atossne rCnqkiuus pB euindas,tce tDedis i itstnago u Twiilsilheeudpisc oathrlso atA,ht eAsec atDihnm ei1ua 7lsge,5 ect7os- Additional Assignments FRIDAY Lecture 3 FonsLecture Questions t Aeneid, Book 4 lons Reading Questions t Lecture 7 FonsLecture Questions t Aeneid, Book 11 lons Metamorphoses, l Book 8 Metamorphoses, l Book 15 Paper: Draft Due yons Paper: Final Due y
BTCTahhhPJSpeiel teeadibSnchsImqaohnnoseuit dp,tee i rhAasoveo-fneDr Lfndo t o ,Ci1R oFu5onoain2ms us 0Dsuto–atlfuuna2 lsvt4uit inshd aee,, nB AdrS iDGnaRgb iei1ainmnn7ge9fu r9sRa,W nomcoRmeuisclecuncosi, VVJDueeinnA11ddouug56D mss13B, 72 a eu1nn––Ci8td13l d1 eo85Jir5fneu Psgp, a iCtreaiarsn,r, dtRPh aaeJgpteueh,rn a oJPe, .la , uMARl Da.R pW uh1ba5. ee1Tnl7,us –,r 1nAA8eDDr, chedule xts Complete y THURSDAY Reading Questi t Lecture 4 FLecture Questi t Aeneid, Book 6 l Reading Questi t Lecture 8 FLecture Questi t Metamorphoses, l Book 1 Metamorphoses, l Book 11 Lecture 12 FLecture Questi t
and Remus to His Wife, Nicolas Mignard, Venus and Anchises, William Blake Rich- S Te
TCTSchahetcACUepeyn. i Don,eCDtA oilAateo elDe1iatu,Ddn 6trAt ehs1hS5 1e De84t o 9aW5oSf 4t f19ie Co0g8s–Eln,af36 m,ieH 67nspagoiAr rwo,eD f: JatD rhedeeaW s nCtCr-oouLhnlcfaést:nit ooidtnnuul ,et nGirTok énhCnr oooôhfmwmr tiahnsese-,, TTDMhhiommJ1cdeeso.8 tee Eioi A7snasann 6n DnBdWta-rdr,Jny i1eAnA doos8 gesfDt1i net,nM h5ep Ag1aeah sD8th ,hB8 oe BP9mu1 A–r8eieenr1n0trmi 84jnIra9Ioegm r0- i NntiBontoa u-A rCsCcchhooi,s ninlsslsNeteta saa,Gn ntBthu,i neaéonAnrpjiilDanee-l,, ed Nine-Week k Questions Read l WEDNESDAY Aeneid, Book 1 l Reading Questions t Aeneid, Book 5 l Aeneid, Book 8 l Reading Questions t Lecture 9 FLecture Questions tPaper: Thesis y Statement Due Lecture 10 FLecture Questions t Lucretius, Lucan, l and Statius (if Exam AExam B y score is below 90%)
Twins: 15 cent. AD BaDrbaernicnei -JHunooll,a Vnadt,i cAaDn M14u6s5e–u7m0, nd boo ons ons ons ons ons
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MANVieeraA1pl1Dvnrogieeo87eaiDcr,aa’l79 se,o Ans n6r0 aR 1Tc aD–nAaee6sod9anu -r1 d3P1HdcgL5ih 7urnioeevAs4gssilt 3,naelu tanc,shH nht,Jei id nGseeA,egna is eAorn,tn yhvD-eLekBai d n eLa 1Snotpi7obniit6 eeiBeA6rsmlatualeloigt r t uAWaisSsdrtttipzuascks a aTt,id ro,iO, ae EAA,cp tmDDoac---. PLTAVereheniaAp1anecaiuns5e temDS,asd1su sUh, 5e ar A 1aGarennsd8 n dkAike41d u iJn nn1osHufogde n iwCprAsoe prnc CyePhe,ueoi rlcsvMmola.eiv pcs,Aoa ahkfBrDon eiIraai v oD r H1nMati5osned c3loioCtot’0osveomr ,lmL’ lsAmi o,bB vDaeAeoto d Df1 tyoPh,8r e 1i2A AnH64lee6eanlx3lrei---, y: Watch Lectures F MONDAY Lecture 1 FLecture Questions t Aeneid, Book 2 l Reading Questions t Lecture 6 FLecture Questions t Aeneid, Book 9 l Aeneid, Book 12 l Metamorphoses, l Book 10 Reading Questions t Exam A y
Paolo and Francesca appear to Dante and Vir- Aeneas Meets Andromache, Wenceslaus Hol- Ke EK
gil, Ary Scheffer, AD 1854 lar, AD 1654 WE 1 2 3 4 5 6 7 8 9
Rachel Hiding the Idols, Giovanni Battista
Tiepolo, AD 1726–28
18 Old Western Culture Year 2: The Romans Unit 1: The Aeneid 3
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Lesson 1 Lesson 12
Overview of Roman History Lucretius, Lucan, and Statius
Democritus and Heraclitus
Proclaiming Claudius Emperor
Peter Paul Rubens, AD 1603, oil on panel, 96 × 126 cm.
Sir Lawrence Alma-Tadema, AD 1867, oil on panel, 46.8 × 60.7 cm.
The rain in Spain falls mainly on...Peter Paul Rubens. In 1603 Rubens
Dutch-born Lawrence Alma-Tadema was noted for depicting textures
was on a diplomatic mission for his patron, the duke of Mantua, when he
and refl ective surfaces. His skill at rendering marbele such as the steps
encountered 25 days of incessant rainfall. The rain damaged some gifts,
seen here, earned him the nickname the “marbellous painter.” Although
including a number of paintings, that Rubens was to deliver to the Span-
Alma-Tadema’s realism fell into disfavor as post-impressionism, fauvism,
ish court. The resourceful Rubens was able to restore most of the imag-
and other abstract schools of art gained popularity, Hollywood saw the
es, but one or two were beyond repair—so sodden that the paint had
value of his meticulous attention to architectural accuracy. His paintings
fl aked off. To compensate, he quickly produced Democritus and Heraclitus.
we used as source material for fi lms including Ben Hur (1926), The Ten
The laughing philosopher and the weeping philosopher are depicted on
Commandments (1956), Gladiator (2000), and even The Lion, The Witch, and
opposite sides of a globe. Their names are embroidered on their robes in
the Wardrobe (2005), in which they inspired the interior of Cair Paravel.
Greek characters.
4 Old Western Culture Year 2: The Romans Unit 1: The Aeneid 17
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Lesson 2
Introduction to the Aeneid
Aeneas and Anchises
Leonello Spada,
c. AD 1615, oil on
canvas, 195 × 132 cm.
As Troy burns, Aeneas
leads his son and aged
father out of the city
to safety. Notice the
household gods that his
father carries. In this
single painting, Spada
represents the Roman
ideal of Pietas in three
important ways: fi lial
piety towards Aeneas’
father (past), piety to-
wards the gods (pres-
ent), and duty to fate
through Aeneas’ son
Ascanius, whose proge-
ny is destined to found
Rome (future). Aeneas
is fated to found Rome
Orpheus Leading Eurydice from the Underworld
and bound by sacred duty to fulfi ll that destiny in the face of great odds
Jean-Baptiste-Camille Corot, AD 1861, 112 × 137 cm.
(Juno’s wrath) and powerful temptation (Dido). The sad-eyed Creusa,
the wife of Aeneas, points the way to safety but does not herself sur-
Like fellow Frenchman Claude two centuries earlier, Corot was a landscape
vive the fl ight. Leonello Spada was a follower of Caravaggio, whose
painter for whom fi gures seemed a secondary consideration. Corot was di-
characteristic chiaroscuro technique—a strong contrast of light and
verse, adding impressionistic techniques to his earlier neoclassical training,
dark to help create the illusion of depth—is emulated here. Although
and later experimenting with photography. He studied briefl y under Achille
there is a story that Spada posed, perhaps unwillingly, for Caravaggio’s
Etna Michallon, who had in turn studied under David. The son of success-
Death of John the Baptist, it is unclear whether the two ever actually met.
ful merchants, Corot was never a stereotypical starving artist. Perhaps his
comfortable fi nancial situation informed his lax attitude toward copies of
his work. He was happy to sign his students’ work and loan his canvases to
professional copiers. As someone exaggeratedly joked, “Corot painted three
thousand canvases, ten thousand of which have been sold in America.”
16 Old Western Culture Year 2: The Romans Unit 1: The Aeneid 5
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Lesson 3 Lesson 11
Aeneid I: Rome Is an Idea Ovid’s Metamorphoses II
Nymphs Finding the
Head of Orpheus
John William
Waterhouse, AD 1900,
oil on canvas,
99 × 149 cm.
The loveliness of this Wa-
terhouse painting stands
in contrast to its grue-
some subject matter: Two
nymphs have spotted
the severed head of the
charmed musician Or-
pheus, who was slain by
the Maenads for failing
to honor Dionysus. The
son of two British paint-
ers, Waterhouse studied
at the Royal Academy
of Art and experienced
Aeneas Relating to Dido the Disasters of Troy
great commercial suc-
Pierre-Narcisse Guérin, c. AD 1815, oil on canvas, 292 × 390 cm.
cess in his lifetime. A
Queen Dido of Carthage presents the greatest temptation that stands member of the Pre-
between Aeneas and his destiny. In this painting, Aeneas relates the sto- Raphaelite Brotherhood,
ry of his wanderings to Dido, who is in that moment falling in love with he continued to paint in
him as Cupid’s darts pierce her heart at the instigation of both Venus the style long after the
and Juno. Though the name of Paris-born Pierre-Narcisse Guérin is not group’s breakup, favoring classical subjects, and usually featuring fe-
well known today, he was lauded in his own time. In 1796 he was one male fi gures. Among his other pretty but not very cheery subjects were
of three painters to win the prestigious Prix de Rome scholarship for art The Lady of Shallot setting off in the boat in which she would die, doomed
students. Though plagued by ill health throughout his life, forcing him to Shakespearian characters Ophelia and Juliet, and tragic mythological
leave some important works unfi nished, Guérin was able to serve as di- fi gures Pandora, Psyche, and Echo.
rector of the French Academy in Rome from 1822–28, and he was made
a baron in 1828. Categorized as a neoclassicist, Guérin’s style shifted
somewhat throughout his career. Here we see a more sensual style than
in his earlier works, in keeping with the fashion of the time.
6 Old Western Culture Year 2: The Romans Unit 1: The Aeneid 15
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Lesson 4
Aeneid II: The Fall of Troy and the Wanderings of Aeneas
Captive Andromache
Frederic Leighton, c. AD 1886–8, oil on canvas, 292 × 390 cm.
Some standing by,
Marking thy tears fall, shall say, “This is she,
The wife of that same Hector that fought best
Of all the Trojans when all fought for Troy.”
When British painter Frederic Leighton’s Captive Andromache was ex-
hibited at the Royal Academy, these lines from the Iliad, translated by
Elizabeth Barrett Browning, accompanied it. Robed in black, Hector’s
widow stands sad and still and solitary while clusters of brightly clad
The Flight of Icarus people work and socialize around her. While artists more typically
Jacob Peter Gowy, AD 1635–37, 195 × 180 cm. make the brightest spot in the painting the focus, Leighton draws our
eyes to the darkest. Our hearts, too, are drawn in, sympathizing with
Unlike Brueghel, Gowy give us an Icarus who can’t be missed. In the Andromache’s grief.
Flemish Baroque painter’s most famous work, Daedelus looks on in de-
spair as his son fl ails out of control as he plummets from the sky. Gowy
was a student of Rubens, who created the original sketch for the paint-
ing. Oddly, Gowy painted an overcast sky rather than a clear day with a
sun bright enough to melt the wax in Icarus’ wings.
14 Old Western Culture Year 2: The Romans Unit 1: The Aeneid 7
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Lesson 5 Lesson 10
Aeneid III: The Tragedy of Dido Ovid’s Metamorphoses I
The Conversion of Saint Augustine
Landscape with the Fall of Icarus
Fra Angelico, mid-1430s AD, tempera on panel, 22.5 × 34.5 cm.
Pieter Brueghel the Elder, c. AD 1558, oil on canvas mounted on
This small painting is one of fi ve surviving fragments of a larger work. wood, 73.5 × 112 cm.
Although a number of theories have been proposed about the subject,
scholars now generally agree that it depicts Augustine on the brink Did it take you a minute to fi nd Icarus? Brueghel was one of the fi rst
of his conversion. He and his friend Alypius have just heard the story artists to engage in genre painting—depictions of everyday life rather
of St. Antony and of two people who converted after hearing the tale. than formally posed portraits or illustrations of grand historical events.
Here Augustine sits under a fi g tree and weeps with shame over his own In this painting, a farmer prosaically plows a fi eld in the foreground
sin. Soon he would hear a voice that prompted him to read Romans while the great mythic fi gure of Icarus makes a barely noticeable splash.
13:13–14, and he surrendered to Christ. The early Renaissance painter A shepherd and a fi sherman also go complacently about their business,
Fra Angelico was born in Tuscany and baptized Guido di Pietro. He either ignorant or uncaring about Icarus’s tragic demise. Experts de-
was renamed Fra (Brother) Giovanni upon taking his vows as a Do- bate whether Brueghel actually painted this image, or if it is a copy. The
minican friar. Angelico was a nickname meaning just what it looks like in clearest argument against it being his original work is that Brueghel only
English—angelic—because he was noted for his piety, humility, cheer- used tempera on canvas and oil on panel. Over the past few decades,
fulness, and care for the poor as well as his artistic talent. He reportedly researchers have used radiocarbon dating, X-rays, electron microscopy,
said, “He who does Christ’s work must stay with Christ always.” and infrared refl ectography to try to solve the mystery.
8 Old Western Culture Year 2: The Romans Unit 1: The Aeneid 13
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