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THE MYTH OF HERCULES THROUGH TIME AND SPACE
WHY IS THE MYTH OF HERCULES SO
LONG-LASTING AND POPULAR?
WHY DO WE FIND HIM PORTRAYED
IN CERTAIN LOCATIONS?
WHAT MESSAGE DOES HE CONVEY?
What is this marble group?Where do you think it is?
InATHENSVENICEROME
VIENNANEW YORK
The building at the back is…It dates back to….
A CHURCHA TEMPLE
A ROYAL PALACEA BANK
THE STOCK EXCHANGE
THE ROMAN EMPIRETHE MIDDLE AGESTHE RENAISSANCETHE 17TH CENTURYTHE 19TH CENTURY
KEYMichaelertor (St. Michael’s Gate), Hofburg,
Vienna
St. Michael’s Wing is a later addition to the Imperial Palace in Vienna. It was originally designed in the 1720s by Josef Emanuel Fischer von Erlach, but construction really
started in 1888, following von Erlach's original Baroque design, and was completed in
1893.
WHY ARE THE LABOURS OF HERCULES REPRESENTED IN
THAT LOCATION?
BRAINSTORMING QUESTION:
The Emperor’s name was Hercules
An ancient statue was found in this place
Classical art was a source of inspiration
The sculptor was Greek
Hercules symbolizes ferocity and strength
Hercules symbolizes power and virtueIt shows that the Emperor prevailed
on all opponents
EFFIGES OF HERCULES AND THEIR LOCATIONS
THREE CASES
CASE ONE
CAPTURING THE ERIMANTHIAN
BOAR
CAPTURING THE GOLDEN HIND OF
ARTEMIS
Where would you expect to see these bas reliefs?On the façade of a Church
a Templea Royal Palace
a Bankthe Stock Exchange
In AthensVeniceRome
ViennaNew York
KEY St. Mark’s Basilica in VeniceThe Virgin Archangel
Gabriel
St. George St. Demetrius
It may seem strange to find Heracles/Hercules performing his Labours
on the façade of a basilica, flanking two
saints and the Annunciation.
A pagan hero portrayed in a holy place.
But you may notice that
•the two saints are carrying weapons: two warrior saints,
St. George and St. Demetrius, in the fight against evil• the Annunciation alludes to the legendary
founding of Venice on 25th March 421 (Annunciation Day)• the main central piece is the Last Judgement
flanked by the Passion, Death and Resurrection of Christ in the lunettes at the
sides and the History of the Relics of St. Mark• the west façade introduces the message amplified in the mosaics of the interior: the
possession of St. Mark’s relics
The whole façade speaks of triumph, rule and riches.
In the Middle Ages, pagan themes were transformed into Christian terms: the
mythological tale of Hercules, victorious over animal strength, became
an allegory of Christian salvation.
It claims observance of the ethical-religious virtues (personifications of the virtues) and the ideals and regulations of civil
coexistence (representations of months and trades).
Remember this episode in young Heracles’ life
From Xenophon’s Memorabilia
Because of his Choice, Hercules appears in early Christian tombs and sarcophagi and in
later works as a symbol of virtue
fighting the enemies of Christianity.
ANNIBALE CARRACCI: THE CHOICE OF HERCULES(Ercole al bivio)
Itaian Baroque, 1596 (Capodimonte Gallery of Naples)
CASE TWO
Palazzo Vecchio, Piazza della Signoria, Florence
Michelangelo David
Baccio Bandinelli
Hercules and Cacus
Baucis and Philemon
Piazza della Signoria, FlorencePalazzo Vecchio Loggia dei Lanzi
Palazzo Vecchio is lined with statues with a distinctive
historical and political significance
The politics of the Medici and Florence dominate Piazza della Signoria
Every sculpture within it responds
politically and artistically to each other
and tell about the Florentine Republic and the
House of Medici.
The older statues point to the Florentine Republic and
its idealsThe heraldic lion,
seated and supporting
Florence’s coat-of-arms with one paw
Donatello’s rendition replaced
the original in 1420
Apparently the first piece of public
secular sculpture commissioned by the Republic of
Florence in the late 14th
century.
Marzocco ca. 1377
DonatelloJudith and Holofernes 1460
The bronze statue, commissioned by Cosimo il Vecchio, was originally standing in the Medici Palace besides Donatello’s David. Both depict tyrant slayers. They are the symbol of liberty, virtue and victory of the weak over the strong in a just cause. When the Medici were exiled from Florence in 1495, the sculpture was placed on Piazza della Signoria. Now it symbolized rebellion to the tyrannical Medici.
Michelangelo
David 1504
The 4.34-metre marble statue of a standing male nude representis David, the Biblical hero who defeated the giant Goliah. Originally one of 12 large Old Testament statues to be positioned along the roofline of the Cathedral, in 1504 it was eventually placed in front of Palazzo Vecchio, the seat of the civic government.It symbolizes the defence of civil liberties threatened by rival states and by the hegemony of the Medici family.
Michelangelo
David 1504
Unlike earlier Renaissance depictions of David, Michelangelo omitted the giant Goliath altogether and depicted the little boy David as a giant. David is not shown victorious over a foe much larger than he.Michelangelo’s David is depicted a moment before the battle actually takes place. He looks tense and ready for combat.
These three works contain implicit allusions of civil
liberties and virtues.
After an 11-month siege the Medici
resumed their rule of the city, with the
support of Emperor Charles V.
1531
1534As a counterpart to
Michelangelo’s David, Alexander wanted the marble statue of Hercules and Cacus by Baccio
Bandinelli .
Alessandro de’Medici was appointed "Duke of the Florentine Republic“.
The State became a hereditary Duchy.
1532
The colossus (height 5.05 m) was originally assigned to
Michelangelo but it was later appropriated by
the Medici family as a
symbol of their renewed power after their first
return from exile in 1512, and again in
1530.
Hercules killing the fire-belching
monster Cacus on the Palatine hill, Rome, returning from his tenth
labour: stealing Geryon’s cattle, is
the symbol of physical strength, juxtaposed with
David as a symbol of spiritual
strength, both virtues desired by
the Medici.
This marble group shows the basic theme of the
victor (the Medici) and
the vanquished (the Republicans).
The pause suggests the
leniency of the Medici to those
who would concede to their
rule, and a warning to those who would not, as this pause can be
indefinite or simply temporary.
Bandinelli’s group was harshly criticised, first of all because Michelangelo’s talent
was unparalleled by Bandinelli, but also for political reasons, provided that the Medici
family had dissolved the Florentine Republic and Bandinelli was under the Medici
patronage.
Benvenuto Cellini, a champion of Michelangelo and rival of Bandinelli
referred to Hercules’ emphatic musculature as "a sack full of melons,"
forgetting that Michelangelo had received similar deprecation previously
by Leonardo da Vinci.
To affirm the Medici supremacy,
Alexander’s successor, Duke Cosimo I
Medici, commissioned Benvenuto Cellini’s Perseus and Medusa
(1545).The Perseus is an
allegory of the Medici taking control over the Florentine rebellious
people. This is also a symbol of
the Medici’s third restoration.
STATUES in PIAZZA DELLA SIGNORIA
Giambologna was a Flemish artist, influenced by Michelangelo and his study of anatomy.
This reference to Greek mythology shows the classicism of the time, when Renaissance artists tried to bring back certain Greek and Roman traits.
GiambolognaHercules and the Centaur Nessus.
1599
The statue was moved to the Loggia dei Lanzi in 1812.
The centaur Nessus tried to steal Hercules’
wife while carrying her
across the river. Hercules shot him with a poisoned arrow and the dying Centaur told Hercules’ wife that his
blood would keep Hercules hers forever. Later, Hercule’s wife
became jealous of a woman named
Lole, so she rubbed the
centaur’s blood on Hercules’
tunic. The blood was actually a poison which
killed Hercules.
GiambolognaHercules and the Centaur Nessus.
1599
Mantua, Palazzo Te Hall of Horses
CASE THREE
ITALY IN THE RENAISSANCE
REPUBLIC OF FLORENCEMedici
DUCHY OF MANTUA
Gonzaga
The rise of independent city-states resulted in political fragmentation
THE HOUSE OF GONZAGA FEDERICO I (Marquess 1478–1484) FRANCESCO I (Marquess 1484–1519) FEDERICO II (Marquess 1519–30, Duke 1530-40)
PALAZZO TEThe Gonzaga summer residence
Built by Giulio Romano between 1525 and 1535
A masterpiece of the late Renaissance
A model of Classicism
Giulio Romano built a grandiose suburban residence, inspired by Roman
villas, for Federico II Gonzaga in the place
where the family used to breed their famous horses.At Palazzo Te Federico spent his time
with his mistress Isabella Boschetti, the real love of his life
The private residence was also a state palace for the court official
receptions.
In 1530 the Emperor Charles V was received here with great ceremony.
The only room in the villa originally defined as a hall, due to its size and
function: feasts and balls were held here, like the one in honour of emperor Charles V on
his visit to Mantua in 1530.The room was decorated between 1525
and 1527.
THE HALL OF THE HORSES
The Hall testifies to the Gonzaga’s love for horses.
A horse was the finest gift a Gonzaga could give a friend, such as Giulio Romano, or a ruler, like emperor
Charles V. IN THE HALL....
Federico’s horses portrayed life size against a background of distant
landscapesClassical architecture of faux marble
Corinthian columns with a fireplace on the south wall
Statues of deities and busts of dignitaries
Six of the labours of Hercules to imitate bronze bas-reliefs.Frieze with male and female putti and
grotesque masks
WHY ARE THE LABOURS OF HERCUES DEPICTED IN THAT
LOCATION?Space for your ideas
Some suggestions from Peter Burns On Becoming Immortal: The Life Of
Heracles
His stories serve to educate people, not only entertain them
He shows that even mortals can achieve incredible exploits
He was an example of strength, courage, confidence and tenacity
His tales are meant to educate young men right from childhood
Ancient Romans incorporated his legend into their own mythology
He embodies hard work and toil, struggling to come out victorious
His travels took him to all corners of ancient Greece and Europe
He has to expiate his sins by undertaking the 12 Labours
He shows that all men strive for virtue and excellence
He was a troubled hero, unable to control his emotions and going into
fits of rage
He is a prime example of Andreia [manliness, the essence of man, his raw
strength and energy]
It is more in accord with nature to emulate the great Hercules and
undergo the greatest toil and trouble for the sake of aiding or saving the world, if possible, than to live
in seclusion.
— Cicero in “On duty”
IN THE STUDENTS’ VIEW.....Hercules makes you think that everyone can achieve perfection.
He is an example of strength , courage and tenacity for young people.
He has left his imprints in history and adventure.
The story about the 12 Labours is interesting and joyful for every age: children, elderly people, those who do not know about history.
Ancient Myth still inspires a lot of people not to give up and be confident, day by day, century by century.He shows that all men strive for virtue and excellence.Hercules has helped us to learn more about Mythology and his stories educate, not only entertain.
Hercules is like us because he is not perfect.
He was the first hero who travelled around the world fighting against beasts.
He will always be the symbol of virtue, courage and the possibility to defeat the evil.
For the powerful he was propaganda for their actions, for the Church Hercules was the mean to say that if we want we can defeat the evil.
Hercules’ immortality is due to the fact that he represents the strength of human power and his Labours are his journey of purification for his sins.He is a prime example of Andreia.
He is a part of our History. His Myth is also educational for Men and Children.
He represents some virtues that are important for the life of the Citizens and teaches not to be upset facing the labours of everyday life.
His abilities become more important through Art, so that everybody can see and understand.
He is immortal because the virtues he represents are immortal and because the story of his life is fascinating and exciting.
THE MYTH OF HERCULES THROUGH TIME AND SPACE
