Mosaic Alexander the Great where is located. Secrets of the Mosaic of Ancient Pompeii. See what "Mosaic of Alexander" is in other dictionaries
Many of the most interesting Pompeii mosaics are now kept in the National Archaeological Museum of Naples. But even in Pompeii itself you can see extraordinary paintings made of colored stone. In many compositions, the careful selection of colors and the size of the mosaic elements are striking - just a few millimeters.
Alexander the Great and Darius at the Battle of Issus
The most famous Pompeii mosaic is the Battle of Issus from the House of the Faun. The mosaic was made famous not only by the image of Alexander the Great, but also by the artistic depth of the images, the dynamics of the whole picture, the emotionality and drama carried through the millennia.
The plot of the mosaic is one of the key moments in the history of ancient civilization. The battle of the army of Alexander the Great with the army of the Persian king Darius opened the way for the great commander to the east, to India. And dealt a stunning blow to the Persian Empire. The authors of the mosaic managed to convey not only the experiences of the main characters, but also the general intensity of passions.
Mosaic from Pompeii. Battle of Issus.
It is assumed that the mosaic was made in the 1st century AD after a painting original by the Greek artist Philoxenus from Eritrea. Philoxenus was a contemporary of Alexander, so it is very likely that the sharp, intense, slightly angular features of Alexander's face are much closer to the original than the idealized portraits of later times. The face of Darius, although it reflects a complex range of feelings, most likely also has a portrait resemblance to the king of the Persians.
Alexander on the mosaic.
The picture as a whole is striking in its versatility and integrity. The complexity of the composition is formed by numerous figures of warriors, horsemen, who are in motion. At the same time, faces and details are written out with accuracy and realism.
In the mosaic of the Battle of Issus, the color scheme is limited - black, white and yellow-red colors are used. This limitation is by no means due to the lack of materials of a different color, but is an artistic concept, probably subordinated to some general interior interests. It is difficult to judge, perhaps the pictorial original was originally made in such colors.
Darius.
Currently, the original mosaic is in the Archaeological Museum of Naples, but it originally decorated the floor in the House of the Faun in Pompeii (now there is an exact copy of the mosaic, made by craftsmen from Ravenna). The size of the composition is 5.84 by 3.17 meters (the area is over 15 square meters), the number of mosaic elements is more than one and a half million
Reconstruction of the painting.
pompeian cat
The second replicated mosaic from Pompeii is an image of a leopard (some, however, believe that this is a cat). The characteristic spotted coloring is conveyed quite accurately, leaving no doubt about the rapacity of the beast and pronounced clawed paws. But the grin on the face can hardly be considered aggressive - the cat is more likely to play, preparing to jump for a toy, than seriously going to attack.
Pompeian cat.
One of the typical techniques of Roman mosaics is clearly visible on this mosaic - the silhouette of the picture is emphasized not only by colored cubes, but also by background white elements laid out along the line. The volume of the animal's body itself is well conveyed in the mosaic, and the shadows from the paws are designed to emphasize the realism of the image.
Good pussy, good...
Cave Canem - Be afraid of the dog
Another "hit" of the Pompeii mosaics is the guard dog. In Pompeii, the image of a dog at the entrance to the house served as a kind of security talisman and a warning to guests. The inscription Cave Canem (Fear the dog) on one of them has become a common noun for such images. Most watchdogs are made in black and white - the dog guarding the house is usually lined with small black cubes on a light background. The sizes and plots of the mosaics with dogs are individual - there are large and very realistic dogs, as well as smaller ones and more marked than drawn in detail. Ferocious and wary dogs are more characteristic, but on some the guards peacefully curl up and sleep. 
Mosaic. Be afraid of the dog.
On the example of the above mosaics, differences in the style and shape of the images are noticeable. There are several periods in the art of Pompeii, because the city developed and grew over several centuries. Without going into subtleties of art history, we will simply draw the attention of visitors to a noticeable difference in the presentation of images and the form of execution of mosaics. 
In ancient mythology, there is one very pronounced image of a guard dog - this is a Cerberus guarding the entrance to another world. Who knows, maybe, depicting a dog at the entrance, the inhabitants of Pompeii hoped that she would protect them from the troubles and hardships of the outside world and keep peace and tranquility in the house? It is a pity that the beautiful mosaics ultimately did not fulfill this purpose.
Guard dog.
PLATO'S ACADEMY.
Plato's Academy -
A mosaic in a villa in Pompeii is believed to depict a group of philosophers from the classical period. Second from the left - Lysias, third from the left - Plato. The picture itself is concise and almost schematic in depicting details. The antique temple, tree, capitals of the column are marked, but not traced, although the folds on the clothes are accurate and realistic. The composition and manner of execution suggest that the mosaic was made after a painting of the Greek school.
But by the time the mosaic was made, a different style reigned in Pompeii - a chic frame with a magnificent decorative interlacing of fruits, ribbons, leaves and eight comic masks was added to the plot image of the mosaic master. Each mask is original, they are not repeated, and their funny grotesque grimaces seem to laugh at the pathos of the central plot.
Some historians believe that the mosaic depicts not Plato at all and not his Academy at all, but a meeting of scientists from the Alexandria Museum (which was not at all a museum in our understanding, but something like an academy of sciences and a university in one bottle). In the grand scheme of things, does it really matter? People are sitting, talking about important things, and masks are laughing around - how many times will world art repeat such a collision ...
The material for the mosaic was marble cubes with the addition of smalt. Now the mosaic is in Naples, in the National Archaeological Museum.
PEOPLE AND FATE.
In Pompeian painting and mosaics, mythological and genre scenes are often found. Sometimes it is simply impossible to separate where the legend is depicted and where real life is depicted. For us, the whole world of Ancient Rome is a big legend, with its established images, clichés, and delusions.
Battle with the Minotaur (Labyrinth). Mosaic. Pompeii
Comedians. Mosaic. Pompeii
Our universally educated world is sometimes too obsessed with predestination. But the Pompeians, judging by this picture, attached great importance to Fortune, Chance, Luck. (Something like - do not renounce the bag). Wheel, skull, scales, measure - the symbolism is understandable even after a couple of millennia. Two dresses, two worlds - and sometimes it's so easy to be on the other side.
Fortune. Mosaic. Pompeii
Animals, birds, fish
The art of mosaic was so widespread that among the plots of mosaic paintings and panels there are a wide variety of animals, birds, fish - in their native habitat, in interaction or simply in the form of a still life (and before the famous hunting "collapses" of Snyders, there are still centuries and centuries .. .).
Hippopotamus. Mosaic. Pompeii
Crocodile. Mosaic. Pompeii
Fish and ducks. Mosaic. Pompeii.
Cat with quail, birds and fish. Mosaic. Pompeii.
underwater kingdom
Mosaic depicting the inhabitants of the deep sea is also known under the names "Fish", "Seabed" and - even - "Sea reptiles". On a black background, an encyclopedia of fish and animals that lived in the depths of the sea and is well known to the authors of the mosaic is presented, since most of the creatures (more than twenty different inhabitants of the sea) are not only recognizable, but also conveyed with amazing accuracy. With the help of color nuances, the artist reproduced the characteristic coloration of fish, including even small details - fins, gill lines, octopus suckers, etc.
The compositional center of the picture is an octopus wrapped around a lobster with tentacles. The close-set and accentuated eyes of the octopus seem to be directed directly at the viewer of the picture. The octopus seems to be conducting a dialogue with the viewer through the glass of a modern aquarium, while the rest of the fish are busy with their own business. However, there is no doubt that all the presented species of fish, molluscs, crustaceans made up a significant part of the diet of the Pompeians, so the mosaic is a kind of illustration of the culinary habits of two thousand years ago.
Underwater Kingdom (Seabed)
It would be unfair not to pay attention to the surviving examples of the interior decoration of the courtyards and villas of Pompeii. The inhabitants of the ancient city knew a lot about not only the fine arts, but also knew how to equip their homes with elegance and luxury.
In ancient Rome, mosaics were widely used to decorate the interiors of public buildings and private houses. The demand for it was very high, so the quality could be different.
The mosaic was made from natural stone...
Or smalt - colored glass.
Unlike Ancient Egypt, Mesopotamia and other ancient civilizations, in Ancient Rome, as well as in Ancient Greece, the three-dimensional principle of the image was used. 
In ancient Roman painting, including mosaics, almost all genres are used.
The most popular were mythological and everyday genres.
Odysseus. Mosaic from the House of Odysseus and Dionysus in Dougga. 3rd century
This mosaic can be attributed both to the everyday genre and to the group portrait.
Philosophers. Mosaic from the Naples Archaeological Museum.
The historical genre is much rarer, but what a quality! 
Battle of Ise. Pompeii.
Portraits, especially those of women, are often idealized. 
Still life is one of the most popular genres. Seafood is especially loved.
II century. Museum of the Vatican.
Roman artists depicted birds and animals very often.
They are always recognizable and very expressive.
Mosaic from the Naples Archaeological Museum.
Mosaic paintings were often surrounded by a wide ornamental frame.
Mosaic from the British Museum.
Ornamental mosaics proper were also not uncommon. The variety of ornaments is amazing.
Discovery and preservation
The mosaic was discovered on October 24, 1831 during excavations of ancient Pompeii in Italy on the floor of one of the premises of the House of the Faun and transferred in 1843 to the National Archaeological Museum of Naples, where it is kept to the present. First, the mosaic was laid out on the floor, as in its original form; near the mosaic was placed on the wall for a better view. A copy of the mosaic was laid out on the floor of the Faun's house. The dimensions of the grandiose painting are 313 × 582 cm, but some of the fragments have not been preserved.
Iconography
The mosaic depicts a battle between Alexander the Great and the Persian king Darius III. In compositional terms, Darius dominates in the center of the picture. His gaze, wide with horror, is directed to the left, where Alexander's spear pierces one of the bodyguards of the Persian king. With his right hand, the dying man is still trying to grasp the deadly weapon, as if he wants to take it out of his body, but his legs are already giving way, and he sinks onto his bleeding black horse. Darius himself, with a bewildered face, unarmed, is trying to turn his chariot around. His outstretched sympathetic but vain right hand and desperate look are addressed to the mortally wounded warrior who threw himself between him and the attacking Alexander. However, both the look and the gesture of Darius equally apply to the approaching Alexander. The Persian king himself has already ceased to fight and therefore becomes a passive victim in an atmosphere of all-encompassing horror.
The Macedonian king, on the contrary, most actively predetermines events on the battlefield. Alexander without a helmet, in luxurious linen armor, riding his Bucephalus, he pierces the body of the enemy with a spear, without even glancing at his victim. His wide eye is focused on Daria; even the Gorgon's gaze on his gorgoneion is directed towards the frightened enemy, as if trying to further strengthen this powerful hypnotic effect.
The portrait of Alexander corresponds to the so-called Lysippus type, to which, for example, the statue of the head of Alexander from the Louvre is also attributed. There is no traditional idealization of Alexander, who was often depicted with long locks and full, soft features as the embodiment of the image of Zeus, the sun god Helios, or Apollo.
Around Alexander, only a few Macedonians can be recognized by cap-like helmets - also due to the destruction of the mosaic. However, the predominant part of the picture - about three-quarters of the entire area - is given to the Persians. The Persians are wearing armor typical of Central Asia, similar to scales or shells made of plates. They cover the entire body and consist of rectangular iron or bronze sticks, tied together at the top, bottom or sides with cords. Depicted from a very bold angle, one of the Persians is trying to curb a frightened horse right in front of Darius; this horse probably belonged to one of the fallen warriors. The face of the dying man, who is just being run over by Darius' chariot, is reflected in his shield; this is the only face on the mosaic whose gaze is fixed on the viewer.
Graphic means in the mosaic reflected the turning point of the battle. On the one hand, the superiority of Alexander is shown. His regal posture and composure, which is reflected in his wide eye and in the spear piercing the body of the enemy, has such a stunning and overwhelming effect on his opponents that they turn in panic. On the other hand, the position of the body of Darius, three Persians fighting in front of him, numerous spears directed at an angle to the left and upwards, still reflect the original line of attack of the Persians, which pays tribute to the enemy of the Macedonians. At the same time, three spears at the right edge of the mosaic indicate movement in the opposite direction. The counter-movement of these enemy lines is repeated, by the way, in many respects in the trunk and branches of a bare tree.
The interpretation of the battle in the mosaic coincides with the historical information we have: in both general battles of the campaign in Asia (at Issus and at Gaugamela, Alexander decided the outcome of the battle through a decisive tactical maneuver. In each case, he rushed into the enemy offensive lines, surrounded by his horse hetairos, broke resistance to such a sudden attack and quite unexpectedly appeared before Darius, who then fled.
Evidence that the plot of the battle of Issus is depicted on the mosaic has not been found (except for similar descriptions of the battle at
Noble Cretan Ghoul Inquisitor.
For communities Alexander and all-all-all and Alexander-art
The famous antique mosaic depicting the battle between Alexander and Darius III Codoman.
Dated around 200 BC. Original dimensions are 5.82m X 3.13m
It was discovered in 1831 during the excavations of Pompeii, on the floor of the so-called. "House of the Faun" Currently kept in the National Archaeological Museum of Naples. In the house of the Faun, its exact copy is currently posted.
The work is a copy of the masters of the Alexandrian school of mosaic from a picturesque ancient Greek canvas, executed in a different technique.
The mosaic is a copy of the work of either Apelesse or Philoxenus of Eretria. The last author was mentioned by the ancient Roman writer Pliny the Elder as having worked on the canvas commissioned by Cassander, the king of Macedonia.
The time reference of the creation of the picture, made from literary data, is confirmed by the manner of execution with a limited set of colors used and the way of drawing, characteristic of the early Hellenistic period. The mosaic is made up of about one and a half million pieces, assembled into a picture using a technique known as "opus vermiculatum", that is, the pieces were assembled one by one along winding lines.
The Mosaic depicts Alexander the Great attacking Darius III. Alexander without a helmet, in rich linen armor, on horseback strikes the bodyguard of Darius with a spear. The face of Alexander in the mosaic bears a marked resemblance to his well-known busts.
Gaugamela or Issus?
At the moment, there is no unequivocal opinion on this issue - which battle is depicted on the mosaic. A persistent opinion already prevails that the canvas depicts a symbolic battle, as an expression of the glorification of the exploits of Alexander in the Asian campaign.
In favor of Gaugamel/Arbel.
In the background is an inanimate tree. Gaugamela, as a variant, is translated as "lifeless tree". Therefore, the researchers immediately named the mosaic as the “Battle of Arbela / Gaugamela.” Also in favor of this battle, the researchers considered Alexander’s attire - a double linen shell, which was allegedly taken from the booty at Issus.
A sword made by Kitian craftsmen is depicted, and the Kitian emblem is supposedly distinguishable.
Under Gaugamela, the chariot could not move because of the mountain of corpses. The fallen Persian, seeing his reflection in the shield, can be recognized as evidence of a pile of corpses under the wheels.
At Gaugamela, Darius fled on a recently foaled mare. Behind the turning chariot is a Persian with a horse (?).
in favor of Issa.
Nearby, the explorers see Darius' brother, Oksatra, the head of the cavalry, who rescues his brother.
Perhaps the posture of Darius says that he threw the weapon towards the Sanya (during Issus, Alexander was allegedly wounded in the leg by Darius himself, either with a dagger or a sword).
It is believed that Issa was a very important turning point in the history of Alexander's conquests, and was the first battle where the Persians, under the direct leadership of the king, were defeated by the Greeks. The subject of Darius' escape was very well discussed during his flight from the Isles. Therefore, it is believed that this can also be interpreted in favor of the fact that the battle of Isca is depicted as the most important.
Discovery and preservation
The mosaic was discovered on October 24 during excavations of ancient Pompeii in Italy on the floor of one of the rooms of the House of the Faun and transferred to the National Archaeological Museum of Naples, where it is kept to this day. First, the mosaic was laid out on the floor, as in its original form; near the mosaic was placed on the wall for a better view. A copy of the mosaic was laid out on the floor of the Faun's house. The dimensions of the grandiose painting are 313x582 cm², but some of the fragments have not been preserved.
Mosaic fragment with King Darius
The royal armor of Alexander depicted on the mosaic was reconstructed in Oliver Stone's film "Alexander". The armor is decorated on the chest with a gorgonion, an image of the head of the Gorgon Medusa. Part of the mosaic depicting Alexander's bodyguards from the hetairoi has not survived, and only the Boeotian helmet of the hetaira with a gilded wreath conveys the appearance of the famous ancient horsemen. A fragment depicting the standard of the Persian troops was also damaged.
Iconography
prototype
Alexander slays the Persians on the wall of the Sidon sarcophagus.
In terms of iconography, the relief on the royal Sidon sarcophagus (4th century BC), which also depicts the battle of Alexander with the Persians, has a similarity with the mosaic; probably, both monuments go back to a common source. The Pompeian work is considered to be a copy of the masters of the Alexandrian school of mosaic from a picturesque ancient Greek canvas, executed in a different technique. The Greek original is apparently mentioned by the ancient Roman writer Pliny the Elder ("Natural History", 35.110) as a work commissioned by the Macedonian king Cassander, made by Philoxenus of Eretria, a Greek artist of the late 4th century. BC e. The time reference of the creation of the picture, made from literary data, is confirmed by the manner of execution with a limited set of colors used and the way of drawing, characteristic of the early Hellenistic period.
Additional illustrations
Mosaic of Alexander the Great or "Battle of Issus".
Wikimedia Foundation. 2010 .
See what "Mosaic of Alexander" is in other dictionaries:
- (2nd century BC), floor mosaic (see MOSAIC) in the House of the Faun in Pompeii depicting the battle of Alexander the Great (see ALEXANDER the Great) and Darius III at Issus. Possibly from Alexandria. Repetition of the famous painting by the Greek artist ... ... encyclopedic Dictionary
Palestine mosaic, 1st c. BC e. 585 x 431 cm Nile Mosaic 585 x 431 cm antique mosaic depicting the course of the Nile and scenes from Ptolemaic Egyptian life. The date the mosaic was created is based on ... Wikipedia
- (2nd century BC) floor mosaic in the House of the Faun in Pompeii depicting the battle of Alexander the Great and Darius III at Issus. Possibly from Alexandria. Repetition of the famous painting by the Greek artist Philoxenus (late 4th century BC). At present… … Big Encyclopedic Dictionary
mosaic- An image composed of many elements that are close to each other in size Source: Pluzhnikov, 1995 Mosaic (French mosaïque, Italian mosaico, from Latin musivum, literally dedicated to the muses), an image or pattern made from homogeneous ... ... Dictionary of temple architecture
- (from Greek μουσεϊον, abode, temple of the Muses; Latin opus musivum, Italian musaico, French mosaïque, old Russian musia) in the broad sense of the word, a drawing or picture composed of multi-colored pieces of any solid body, ... ...
- (from Greek μουσεϊον, abode, temple of the Muses; Latin opus musivum, Italian musaico, French mosa ï que, old Russian musia) in the broad sense of the word, a drawing or picture composed of multi-colored pieces of any solid body, ... ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Efron
Mosaic- an image of small pebbles (pebbles) or cubes (tesserae), plain or colored, laid on a solution; decorated floors, sometimes walls and vaults of residential, public, religious buildings. M. from ceramics is known in the countries of Dr. East in the IV II millennium ... ...
Alexandra mosaic- a painting depicting the battle of Alexander the Great and Darius III at Issus. It covered the floor of the exedra of the House of the Faun in Pompeii (5 x 2.7 m; 2nd century BC). Possibility, was brought from Alexandria and yavl. a copy from a painting by other gr. the artist Philoxenus (to the 4th century ... Antique world. Dictionary reference.
ALEXANDRA QUEEN- [August] († 303), mts. (Commemorated April 23 or 21; Cop. April 10). Suffered in Nicomedia along with the martyr. George the Victorious by the verdict of the imp. Diocletian. A. Ts. believed in Christ, becoming a witness of the miraculous healing by the angel of the martyr. George from ... ... Orthodox Encyclopedia
Musīvum, geometric figures (tesselatum), or whole pictures (actually musivum), for example, a beautiful picture in Pompeii depicting the battle of Alexander, on which one ... ... Real Dictionary of Classical Antiquities
Books
- Greek mosaic. Story. People. Travels, Natalia Nissen. Historian and journalist Natalia Nissen, who has lived in Greece for many years and is currently working in this country, talks about her in the pages of her book. The author uses a special form ...
