Brock Odyssey 2017

Bright sunlight, long windy roads that stretch far into the distance, and more mountains than you can count. The bus ride through mainland Greece feels like a vacation while staring out at a green screen…the views cannot be possible. Today will be the last day of touring on the bus and enjoying the landscape because tonight we reach our last location which is Athens. However first we will visit two famous and exciting sites: Epidaurus and Corinth – two popular sites in the ancient world. I’m very excited.

Epidaurus was a small city state in ancient Greece on the Argolid Peninsula in the Saronic Gulf. The Asklepieion at Epidaurus was the most celebrated healing centre of the Greek world, the place where ill people went in the hope of being cured. It was so cool to see such a place that held such significance for so many people. The site also features the most well preserved theatre in all of Greece! Visitors are allowed to fully interact with the site and are encouraged to try out the theatre’s excellent acoustics. The group took turns performing at the theatre however many of us were distracted because we found two very playful, very cute kittens. How could we not be distracted??

On the way to Corinth the group stopped for lunch at a small cafe beside the Isthmus Canal. The word ‘isthmus’ comes from the ancient greek word meaning “neck”. It is a narrow canal that connects the Peloponnese with the rest of mainland Greece. Simply because of that the canal has always been very important. The Isthmus Canal is a wonder within itself.  It is an extremely high, 6,343 metres long, canal that also seems too narrow to fit the massive ships that pass through it. I met a man named Kostos who worked at the cafe and he told me that the canal was used in the tv show The Amazing Race, and the participants had to bungee jump off of it. Would you bungee jump off of it?

We got to Corinth around 2 pm and I almost immediately went into the museum. The museum currently is featuring two graves recently found near the site. The skeletons are of two adult males both who died around the age of 35. One of the skeletons had osteoarthritis due to repeating an action with his right arm over and over his whole life. I personally love the work that science can do with ancient bones these days. I love knowing what people ate and how they lived. I think that it adds a certain concrete knowledge to the life of the ancients.

The actual site of Corinth is very well preserved, I was happy to see. It features a stoa and a famous road named the Lechaion Road which was the first road that connected Corinth to its port. The road still exists and is amazing. The feeling of walking down the road which once would have been bustling with people and shops is a wondrous feeling.  Today was an amazing day.

If anyone reading this wants to travel to mainland Greece I highly recommend visiting Epidaurus and Corinth. The two sites are well preserved similar to how they would have been in the ancient world. It was a magical and fun day.

Well, the day has come. Today (June 18^th) was our last day exploring sites together. It was very bittersweet, as most of us are exhausted and missing our families, but still loving every minute of the trip and not being quite ready to give it up.

We started our day off leaving the hotel to get onto a bus that would take us out of Athens to see our final round of sites. Throughout most of our trip, it was a daily bus journey across Greece, and we all bonded with our amazing bus driver, and were sad to say goodbye when we arrived back in Athens. To our surprise and excitement, we lucked out and got him as our driver for the final day as well!

After reuniting with our driver, we boarded the bus and headed out to our first stop of the day, Brauron. Our peer, Rick Castle (Personal blog: https://troystory3blog.wordpress.com/ ), gave us some information about the history of the sites, its uses, the mythology behind it, and also helped orient us to the different buildings located around us. The site was a rural location dedicated to the goddess Artemis Brauronia. Every four years a festival was held that was representative of the maturation of young girls into a marriageable age. The girls would wear robes and walk through a ceremonial procession, then shed their robes and dedicate locks of hair and childhood toys to Artemis.

Our next stop was Thorikos. This area was different than others we had seen, as it was part of the industrial area on the coast rather than the urban. This was the site of many mines for the Ancient Athenians. We spent awhile jumping around and exploring all the levels of rock, and found one mine shaft (with a grate over it) that we got to look down into. I found the levels of stratification in the rock to be especially interesting.

After Thorikos we stopped by the Archaeological Museum of Laurion. This museum was smaller than most of the ones we’d seen previously, but it still had some lovely sculptures, and was very airy and light inside.

Before our last stop of the day we took a break at a little seaside café, and some of us went exploring on the shore while we waited for our food. Keegan and I discovered this little hidden cave, that we enjoyed sitting in while admiring the view.

We continued on to the VERY LAST SITE OF OUR ENTIRE TRIP! A very sad realization we had on the bus up the hill to the site of Sounion, Temple to Poseidon. This temple was uniquely positioned on top of an outcropping of rocks, with the sea on three sides. Although it was pouring rain and absolutely freezing (a dramatic change from the intense heat we had grown accustomed to)  we stuck it out on top of the cliff and took some pictures while examining the temple.

Figure 9: Temple to Poseidon at the site of Sounion.

In the evening we met up again and headed out to our final ‘family’ dinner. We had traditional Greek foods of tzatziki, saganki, souvlaki, and moussaka. After dinner, we took our last official group photo together.  Everyone was feeling a little sad, while still enjoying each others company, and I might have a cried at the table. We split up afterwards since some people needed to pack and others finished off some souvenir shopping.

For the last time, too many of us crowded into one hotel room for a late-night hangout. We had the goal of pulling an all nighter so we would sleep on the plane (that didn’t work out) but we did say goodbye to the people who had middle of the night flights to their next destination.

The friendship and experiences gained on this trip are invaluable, and I hope my classmates know how much they mean to me. We’ve been through a lot together, and whether laughing or crying, or trying not to yell at each other out of hunger and exhaustion, this trip would not have been as amazing as it was without each of them.

Our professor Dr. Glazebrook, and TA Stephanie, did a phenomenal job of guiding us through Greece, and were always there for us no matter what or when we needed something.

A final thanks to all of you for following along on our journey. With that, the Brock Odyssey of 2017 comes to a close. Safe travels everyone.

Within the walls of a Roman villa in the Greek city of Corinth lies an intricate and stunning mosaic. The head of the god Bacchus is centered in a series of overlapping petals made from triangles; near-hypnotic in their layout. The work is precise; each tile cut and placed with extreme care. Dating from the second century CE, the mosaic exemplifies Roman craftsmanship and their enduring interest in Greek culture, despite their distrust of it.

By the 2^nd-3^rd century CE, the art of mosaic had been mastered by the Romans. Small tiles of stone and glass, called tesserae, were hand-cut to specific sizes and laid out by hand by the artist. In this mosaic, Bacchus is clearly defined; his hair is full and his eyes heavy-lidded, adding an air of thoughtfulness and detachment to the god of revelry and fertility. The garland on his head, colourful and vibrant, contrasts with the darker tones of his face and hair. This contrast showcases the duality of Bacchus; he could be full of joy and life one moment, but have the detachment needed to make mothers kill their sons in the next.

The god’s face is neither happy nor angry, but holds the potential for either. Radiating out from him are petals made from triangles and negative space that are difficult to ever focus fully on. They, quite simply, confuse and marvel, just as the god himself is meant to. This layout was common in the second century CE, as seem by this Medusa mosaic.

Mosaics were quite common in the Roman era, yet the choice of Bacchus is curious as his cults were often looked at with suspicion. As a god who promoted ekstasis, the state of being outside ones’ self, Bacchus was everything the Romans feared of the Greeks. They saw his followers as overindulgent, unrestrained, and very dangerous to the strict social boundaries of Rome. In fact, a few hundred years earlier the cult of Bacchus had been banned from Rome and a tamer ritual set up in its place.

Did the interlocking lines of the mosaic remind the audience of the dizzying effects of wine? Was the god’s averted gaze and uninterested eyes serve as a warning of the dangers of excess, or as an invitation to his less-hectic world? Were the bells framing the piece joyful music or a loud warning? There is no inscription to offer any insight.

Some of these questions can be answered with an examination of the site. I would love to see if it is in a temple of Bacchus or someone’s home.  If it was part of state religion, it could be a warning. As a god, Bacchus still had to be worshipped and honoured, but perhaps the mosaic suggests caution and the danger of excess. If personal, it could be a celebration of the duality of the god and the embracing of that message. It could also suggest a love of Greek culture and ideals with an interest in displaying them. As it is most likely in a villa, the room in which it is placed could be interesting; was it in a dining room or a private room?

I am very excited to see this mosaic in person and learn more about the site in which it was found.

The Greeks had many artistic works developed in the 5th c. BCE such as the 460-450 BEC bronze Poseidon/Zeus. The Artemision bronze statue of Poseidon or Zeus (Fig. 1) was discovered in the sea. The statue was pulled out of the sea close to Cape Artemision. The statue is made almost completely from bronze and is over six and a half feet in height, and the arm span of the statue measures almost identical in length at six feet and three-quarters inches long. The smaller details such as lips and nipples are copper, while the eyes were ivory or bone. The statue is unique in its godly content, but there were other bronzes that resembled it in texture and nudity, such as the Riace Warriors made within the same decade as the Poseidon/Zeus figure. The figure would have been an offering to whichever god, whether it be Zeus or Poseidon. Offerings would have been given for numerous reasons, whether it be for a blessing or giving thanks to the gods.

(Figure 1, image found at: http://ancientrome.ru/art/artwork/sculp/gr/bronze/bro036.jpg)

The statue is of a muscular man presumably representing an Olympian god. The statue is completely nude and is yet another depiction of the ideal male figure that the Greeks were so interested in. His long and curly beard suggests either Poseidon or Zeus as well as his broad stature. His expression is subtle, but it is clear that he is focused. He is positioned in such a way that presents him as hunting, either an animal, or an enemy. Right arm outstretched to balance himself, one foot facing forward towards his target, the other tilted out in the same direction of his muscular torso. His left arm is held over his head, muscles flexing, holding the weapon he would have been holding had it survived with him. His hand is clenched as he readies himself to use the weapon to strike.
One of the key issues surrounding this bronze statue is the controversial debate about who the subject is. The body features and the facial details suggest that the statue is of an Olympian god, but it is difficult to determine which one. The two most common theories are that it is either Poseidon or Zeus. His musculature could be an identifying feature to either of the proposed gods. His stance, however, resembles that of Zeus. His outstretched arm makes him appear to be throwing a weapon. Poseidon’s typical weapon is a trident, but if the statue was holding a trident, in order for it to be being used as a weapon proportionately, the trident would be stabbing him in the back of the head. The reason why Zeus seems more plausible is because of his signature lightning bolt. The proportions of the statue suggest that whatever he is holding would be a small weapon such as a lightning bolt and not a lengthy one like a trident. I am hopeful that when I see it on-site in Athens at the National Museum that I can get a better sense of the statues nature and be able to make my own assumptions about which of the gods it is meant to represent.

Sources consulted:
http://ancientrome.ru/art/artwork/sculp/gr/bronze/bro036.jpg
Greek Art and Archaeology, Pedley. 2012

-Kait Hall

The Miltiades Helmet

​In the collection of battle memorabilia in the museum at Olympia in Greece is the Miltiades Helmet. It looks battered and the crown is missing, and the surface is dull, without the slightest hint of the burnished gold finish it boasted when it graced the head of the man who wore it into battle over two millennia ago. Yet it warrants its own display case in a museum that has many other helmets in far better shape. What distinguishes this helmet from others of a similar type is the inscription indicating that the helmet was dedicated to Zeus by Miltiades, the general who commanded the combined Athenian and Plataian forces against the Persians at the battle of Marathon in 490 B.C.E.
​This helmet is made of bronze, and it would have been a part of the armour of elite Athenian soldiers, as only the wealthier citizens of Athens could afford bronze armour and the weapons of a hoplite or citizen soldier. When a soldier was wearing all of his armour he would have looked rather like a Spartan warrior from the movie 300, and, standing shield to shield against the enemy Persians, they would have made an impressive sight.

The Miltiades Helmet. Rozen, 2011.
​When it was worn, the helmet would have been topped with a large crest, which would have been attached to metal loops located on the crown and at the back of the neck (which are not visible on this helmet as the crown has not survived) (Weiss 1977, 196). When it was new, the helmet would have gleamed in the sun and the crest on top would have made the man wearing it appear tall and intimidating. We know what these warriors would have looked like from the images on Greek pottery of the time, which were often decorated with battle scenes.
​If you look closely at the side of the helmet, you will see a small rivet hole just below ear level where a chin-strap may have been attached to hold the helmet in place (Weiss 1977, 196). A chin-strap would have been needed to keep the helmet on, because the thickness of the bronze and the crest on top would have made it very heavy. Even with a felt liner on the inside to cushion the soldier’s head it must still have been uncomfortable (and hot as well).

A helmet depicted on Greek pottery. Saint-Pol, 2008.

​The letters along the front edge of the helmet say that “Miltiades dedicated [it] to Zeus,” and this would surely have been done to thank the god for military success (Mee and Spawforth 2004, 286). Since the name on the helmet is ‘Miltiades,’ it is fairly likely that the dedication was in gratitude for the Athenian victory at the battle of Marathon, since Miltiades was the general responsible for convincing the other Athenian generals to fight the Persians instead of giving in It was Miltiades who led the Athenians into battle (Hdt. 6.110). Against all odds, Miltiades and his men won that battle at Marathon, much to the surprise of the Persians. That victory was the first of several that eventually eliminated the Persian threat, and this battered helmet that Miltiades chose to honour Zeus is a symbol of that hard won victory; one which was remembered as a pivotal event in the history of Athenian democracy. Marathon was not the biggest battle fought by the Greeks, but it was one that they never forgot. Like Waterloo and Vimy Ridge, the name Marathon still resonates in Western history.
​Look at this battered helmet and try to imagine what the man who wore it felt like in that long ago battle. Did he and his brothers in arms feel invincible in their bronze armour as they stood in the heat of the September sun? As he looked out through the narrowed field of vision at the Persian forces, did the knowledge that the future of Athens rested upon his shoulders weigh as heavily upon Miltiades as his helmet and armour?
​Only one hundred and ninety-two Athenians died on the battlefield that day, compared to 6,400 Persians, which helped to make Miltiades and his men the heroes of Athens (Hdt. 6.117). Of the men who died, some must have remained conscious as a result of their helmets’ protection. Bleeding from throat or leg wounds, their vision limited by their helmets and their movement hampered by the weight of their armour, they may have had time to contemplate their fate as they died surrounded by the sounds of the battle. Small wonder then, that Miltiades was grateful to Zeus…he survived.

Sources
Primary
Herodotus. The History of Herodotus—Volume 2. Translated by G.C. Macaulay. 1914. E-book. ​London: MacMillan and Co.
Secondary
Darvill, Timothy. 2008. The Concise Oxford Dictionary of Archaeology. Oxford: Oxford ​University Press. www.oxfordreference.com.
Evans, J. A. S. 1993. “Herodotus and the Battle of Marathon.” Historia: Zeitschrift Für Alte ​Geschichte 42, no. 3: 279-307.
Mee, Christopher and Antony Spawforth. 2004. Oxford Archaeological Guides: Greece. Oxford: ​Oxford University Press.
Rozen, Oren. 2011. “Helmet of Miltiades the Younger, Archaeological Museum of Olympia.” ​(image) Wikimedia Commons: https://commons.wikimedia.org.
Saint-Pol, Bibi. 2008. “Hephaistus Hands Thetis the Weapons for Achilles.” (image) Wikimedia ​Commons: https://commons.wikimedia.org.
Weiss, Caroline. 1977. “An Unusual Corinthian Helmet.” California Studies in Classical ​Antiquity 10: 195-207.