The School of Athens

Prompt: How does The School of Athens explain its Copies?

The Victoria and Albert Museum in London has a rectangular copy over 4 metres by 8 metres in size, painted on canvas, dated 1755 by Anton Raphael Mengs, on display in the eastern Cast Court.Modern reproductions of the fresco abound. For example, a full-size one can be seen in the auditorium of Old Cabell Hall at the University of Virginia. Produced in 1902 by George W. Breck to replace an older reproduction that was destroyed in a fire in 1895, it is four inches off scale from the original, because the Vatican would not allow identical reproductions of its art works. A 1689 tapestry reproduction by the Gobelins Manufactory and commissioned by Louis XIV hangs above the presiding officer's platform in the French National Assembly chamber. It had been removed in 2017 for a three-year restoration process undertaken by the Mobilier National, which manages Gobelins Manufactory.Other reproductions include: in Königsberg Cathedral, Kaliningrad by Neide, in the University of North Carolina at Asheville's Highsmith University Student Union, and a recent one in the seminar room at Baylor University's Brooks College. A copy of Raphael's School of Athens was painted on the wall of the ceremonial stairwell that leads to the famous, main-floor reading room of the Sainte-Geneviève Library in Paris.The two figures to the left of Plotinus were used as part of the cover art of both Use Your Illusion I and II albums of Guns N' Roses.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In The School of Athens, how is the Copies discussed?

The Victoria and Albert Museum in London has a rectangular copy over 4 metres by 8 metres in size, painted on canvas, dated 1755 by Anton Raphael Mengs, on display in the eastern Cast Court.Modern reproductions of the fresco abound. For example, a full-size one can be seen in the auditorium of Old Cabell Hall at the University of Virginia. Produced in 1902 by George W. Breck to replace an older reproduction that was destroyed in a fire in 1895, it is four inches off scale from the original, because the Vatican would not allow identical reproductions of its art works. A 1689 tapestry reproduction by the Gobelins Manufactory and commissioned by Louis XIV hangs above the presiding officer's platform in the French National Assembly chamber. It had been removed in 2017 for a three-year restoration process undertaken by the Mobilier National, which manages Gobelins Manufactory.Other reproductions include: in Königsberg Cathedral, Kaliningrad by Neide, in the University of North Carolina at Asheville's Highsmith University Student Union, and a recent one in the seminar room at Baylor University's Brooks College. A copy of Raphael's School of Athens was painted on the wall of the ceremonial stairwell that leads to the famous, main-floor reading room of the Sainte-Geneviève Library in Paris.The two figures to the left of Plotinus were used as part of the cover art of both Use Your Illusion I and II albums of Guns N' Roses.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Focus on The School of Athens and explain the Precursors.

Similar subjects are known from antiquity, notably the Plato's Academy mosaic. It perhaps also appeared in two groups of statues from Roman Egypt. The 19th century French consul Jean-François Mimaut mentioned nine statues at the Serapeum of Alexandria holding rolls, while eleven statues were found at the Memphis Saqqara. A review of "Les Statues Ptolémaïques du Sarapieion de Memphis" ascribed them to the 3rd century, sculpted of limestone and stucco, some standing and others sitting. Rowe and Rees 1956 suggested that both statue groups share a similar subject to the Plato's Academy mosaic, with the Saqqara figures identified as: "(1) Pindare, (2) Démétrios de Phalère, (3) x (?), (4) Orphée (?) aux oiseaux, (5) Hésiode, (6) Homère, (7) x (?), (8) Protagoras, (9) Thalès, (10) Héraclite, (11) Platon, (12) Aristote (?)." However, there have been other suggestions (e.g. Mattusch 2008). Plato and Thales are commonly identified as central figures.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: Explain the Precursors of this artwork, The School of Athens.

Similar subjects are known from antiquity, notably the Plato's Academy mosaic. It perhaps also appeared in two groups of statues from Roman Egypt. The 19th century French consul Jean-François Mimaut mentioned nine statues at the Serapeum of Alexandria holding rolls, while eleven statues were found at the Memphis Saqqara. A review of "Les Statues Ptolémaïques du Sarapieion de Memphis" ascribed them to the 3rd century, sculpted of limestone and stucco, some standing and others sitting. Rowe and Rees 1956 suggested that both statue groups share a similar subject to the Plato's Academy mosaic, with the Saqqara figures identified as: "(1) Pindare, (2) Démétrios de Phalère, (3) x (?), (4) Orphée (?) aux oiseaux, (5) Hésiode, (6) Homère, (7) x (?), (8) Protagoras, (9) Thalès, (10) Héraclite, (11) Platon, (12) Aristote (?)." However, there have been other suggestions (e.g. Mattusch 2008). Plato and Thales are commonly identified as central figures.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: How does The School of Athens explain its Precursors?

Similar subjects are known from antiquity, notably the Plato's Academy mosaic. It perhaps also appeared in two groups of statues from Roman Egypt. The 19th century French consul Jean-François Mimaut mentioned nine statues at the Serapeum of Alexandria holding rolls, while eleven statues were found at the Memphis Saqqara. A review of "Les Statues Ptolémaïques du Sarapieion de Memphis" ascribed them to the 3rd century, sculpted of limestone and stucco, some standing and others sitting. Rowe and Rees 1956 suggested that both statue groups share a similar subject to the Plato's Academy mosaic, with the Saqqara figures identified as: "(1) Pindare, (2) Démétrios de Phalère, (3) x (?), (4) Orphée (?) aux oiseaux, (5) Hésiode, (6) Homère, (7) x (?), (8) Protagoras, (9) Thalès, (10) Héraclite, (11) Platon, (12) Aristote (?)." However, there have been other suggestions (e.g. Mattusch 2008). Plato and Thales are commonly identified as central figures.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


The School of Athens

Prompt: In The School of Athens, how is the Precursors discussed?

Similar subjects are known from antiquity, notably the Plato's Academy mosaic. It perhaps also appeared in two groups of statues from Roman Egypt. The 19th century French consul Jean-François Mimaut mentioned nine statues at the Serapeum of Alexandria holding rolls, while eleven statues were found at the Memphis Saqqara. A review of "Les Statues Ptolémaïques du Sarapieion de Memphis" ascribed them to the 3rd century, sculpted of limestone and stucco, some standing and others sitting. Rowe and Rees 1956 suggested that both statue groups share a similar subject to the Plato's Academy mosaic, with the Saqqara figures identified as: "(1) Pindare, (2) Démétrios de Phalère, (3) x (?), (4) Orphée (?) aux oiseaux, (5) Hésiode, (6) Homère, (7) x (?), (8) Protagoras, (9) Thalès, (10) Héraclite, (11) Platon, (12) Aristote (?)." However, there have been other suggestions (e.g. Mattusch 2008). Plato and Thales are commonly identified as central figures.

Category:Cultural depictions of Averroes

Category:Cultural depictions of Pythagoras

Category:Cultural depictions of Diogenes

File:MANNapoli 124545 plato's academy mosaic.jpg

Category:Cultural depictions of Michelangelo

University of North Carolina at Asheville

Category:Cultural depictions of Archimedes

Category:Cultural depictions of philosophers

defining characteristic of Renaissance art

Category:Cultural depictions of Socrates

Category:Cultural depictions of Aristotle

Image:Raffael Stanza della Segnatura.jpg

Category:Cultural depictions of Leonardo da Vinci


Winged Victory of Samothrace

Prompt: Focus on Winged Victory of Samothrace and explain the abstract.

The Winged Victory of Samothrace, or the Niké of Samothrace, is a votive monument originally discovered on the island of Samothrace, north of the Aegean Sea. It is a masterpiece of Greek sculpture from the Hellenistic era, dating from the beginning of the 2nd century BC (190 BC).  It is composed of a statue representing the goddess Niké (Victory), whose head and arms are missing and its base is in the shape of a ship's bow.The total height of the monument is 5.57 metres (18 ft 3 in) including the socle; the statue alone measures 2.75 metres (9 ft 0 in). The sculpture is one of a small number of major Hellenistic statues surviving in the original, rather than Roman copies.Winged Victory has been exhibited at the Louvre Museum in Paris, at the top of the main staircase, since 1884. Greece is seeking the return of the sculpture.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Explain the abstract of this artwork, Winged Victory of Samothrace.

The Winged Victory of Samothrace, or the Niké of Samothrace, is a votive monument originally discovered on the island of Samothrace, north of the Aegean Sea. It is a masterpiece of Greek sculpture from the Hellenistic era, dating from the beginning of the 2nd century BC (190 BC).  It is composed of a statue representing the goddess Niké (Victory), whose head and arms are missing and its base is in the shape of a ship's bow.The total height of the monument is 5.57 metres (18 ft 3 in) including the socle; the statue alone measures 2.75 metres (9 ft 0 in). The sculpture is one of a small number of major Hellenistic statues surviving in the original, rather than Roman copies.Winged Victory has been exhibited at the Louvre Museum in Paris, at the top of the main staircase, since 1884. Greece is seeking the return of the sculpture.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: How does Winged Victory of Samothrace explain its abstract?

The Winged Victory of Samothrace, or the Niké of Samothrace, is a votive monument originally discovered on the island of Samothrace, north of the Aegean Sea. It is a masterpiece of Greek sculpture from the Hellenistic era, dating from the beginning of the 2nd century BC (190 BC).  It is composed of a statue representing the goddess Niké (Victory), whose head and arms are missing and its base is in the shape of a ship's bow.The total height of the monument is 5.57 metres (18 ft 3 in) including the socle; the statue alone measures 2.75 metres (9 ft 0 in). The sculpture is one of a small number of major Hellenistic statues surviving in the original, rather than Roman copies.Winged Victory has been exhibited at the Louvre Museum in Paris, at the top of the main staircase, since 1884. Greece is seeking the return of the sculpture.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In Winged Victory of Samothrace, how is the abstract discussed?

The Winged Victory of Samothrace, or the Niké of Samothrace, is a votive monument originally discovered on the island of Samothrace, north of the Aegean Sea. It is a masterpiece of Greek sculpture from the Hellenistic era, dating from the beginning of the 2nd century BC (190 BC).  It is composed of a statue representing the goddess Niké (Victory), whose head and arms are missing and its base is in the shape of a ship's bow.The total height of the monument is 5.57 metres (18 ft 3 in) including the socle; the statue alone measures 2.75 metres (9 ft 0 in). The sculpture is one of a small number of major Hellenistic statues surviving in the original, rather than Roman copies.Winged Victory has been exhibited at the Louvre Museum in Paris, at the top of the main staircase, since 1884. Greece is seeking the return of the sculpture.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In the context of Winged Victory of Samothrace, explain the In the 19th century and the Discovery and restorations.

In 1863, Charles Champoiseau (1830–1909), acting chief of the Consulate of France in Adrianopolis (now Edirne in Turkey), undertook from March 6 to May 7 the exploration of the ruins of the sanctuary of the Great Gods on the island of Samothrace. On April 13, 1863, he discovered part of the bust and the body of a large female statue in white marble accompanied by numerous fragments of drapery and feathers. He recognised this as the goddess Niké, Victory, traditionally represented in Greek antiquity as a winged woman. In the same place was a jumble of about fifteen large grey marble blocks whose form or function was unclear: he concluded it was a funerary monument. He decided to send the statue and fragments to the Louvre Museum, and to leave the large blocks of grey marble on site. Departing Samothrace at the beginning of May 1863, the statue arrived in Toulon at the end of August and in Paris on May 11, 1864.A first restoration was undertaken by Adrien Prévost de Longpérier, then curator of Antiquities at the Louvre, between 1864 and 1866. The main part of the body (2.14 m from the upper belly to the feet) is erected on a stone base, and largely completed by fragments of drapery, including the fold of himation that flares behind the legs on the Nike. The remaining fragments – the right part of the bust and a large part of the left wing – too incomplete to be placed on the statue, are stored. Given the exceptional quality of the sculpture, Longpérier decided to present the body alone, exhibited until 1880 among the Roman statues first in the Caryatid Room, then briefly in the Tiber Room.From 1875, Austrian archaeologists who, under the direction of Alexander Conze, had been excavating the buildings of the Samothrace sanctuary since 1870, studied the location where Champoiseau had found the Victory. Architect Aloïs Hauser drew the grey marble blocks left on-site and apprehended that, once properly assembled, they form the tapered bow of a warship, and that, placed on a base of slabs, they served as the basis for the statue. Tetradrachmas of Demetrios Poliorcetes struck between 301 and 292 BC. representing a Victory on the bow of a ship, wings outstretched, give a good idea of this type of monument. For his part, the specialist in ancient sculpture Otto Benndorf is responsible for studying the body of the statue and the fragments kept in reserve at the Louvre, and restored the statue blowing into a trumpet that she raises with her right arm, as on the coin. The two men thus managed to make a model of the Samothrace monument as a whole.Champoiseau, informed of this research, undertook a second mission to Samothrace from August 15 to 29, 1879, for the sole purpose of sending the blocks of the base and the slabs of the Victory base to the Louvre. He abandoned on the island the largest block of the base, unsculpted. Two months later, the blocks reached the Louvre Museum, where in December an assembly test was carried out in a courtyard.The curator of the Department of Antiquities, Félix Ravaisson-Mollien, then decided to reconstruct the monument, in accordance with the model of Austrian archaeologists. On the body of the statue, between 1880 and 1883 he restored the belt area in plaster, placed the right part of the marble bust, recreated the left part in plaster, attached the left marble wing with a metal frame, and replaced the entire right wing with a plaster model. But he did not reconstruct the head, arms or feet. The ship-shaped base is rebuilt and completed, except for the broken bow of the keel, and there is still a large void at the top aft. The statue was placed directly on the base. The entire monument was then placed from the front, on the upper landing of the Daru staircase, the main staircase of the museum.Champoiseau returned to Samothrace a third time in 1891 to try to obtain the Victory's head, but without success. He did however bring back debris from the drapery and base, a small fragment with an inscription and fragments of coloured plaster.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Explain the In the 19th century about the Discovery and restorations of this artwork, Winged Victory of Samothrace.

In 1863, Charles Champoiseau (1830–1909), acting chief of the Consulate of France in Adrianopolis (now Edirne in Turkey), undertook from March 6 to May 7 the exploration of the ruins of the sanctuary of the Great Gods on the island of Samothrace. On April 13, 1863, he discovered part of the bust and the body of a large female statue in white marble accompanied by numerous fragments of drapery and feathers. He recognised this as the goddess Niké, Victory, traditionally represented in Greek antiquity as a winged woman. In the same place was a jumble of about fifteen large grey marble blocks whose form or function was unclear: he concluded it was a funerary monument. He decided to send the statue and fragments to the Louvre Museum, and to leave the large blocks of grey marble on site. Departing Samothrace at the beginning of May 1863, the statue arrived in Toulon at the end of August and in Paris on May 11, 1864.A first restoration was undertaken by Adrien Prévost de Longpérier, then curator of Antiquities at the Louvre, between 1864 and 1866. The main part of the body (2.14 m from the upper belly to the feet) is erected on a stone base, and largely completed by fragments of drapery, including the fold of himation that flares behind the legs on the Nike. The remaining fragments – the right part of the bust and a large part of the left wing – too incomplete to be placed on the statue, are stored. Given the exceptional quality of the sculpture, Longpérier decided to present the body alone, exhibited until 1880 among the Roman statues first in the Caryatid Room, then briefly in the Tiber Room.From 1875, Austrian archaeologists who, under the direction of Alexander Conze, had been excavating the buildings of the Samothrace sanctuary since 1870, studied the location where Champoiseau had found the Victory. Architect Aloïs Hauser drew the grey marble blocks left on-site and apprehended that, once properly assembled, they form the tapered bow of a warship, and that, placed on a base of slabs, they served as the basis for the statue. Tetradrachmas of Demetrios Poliorcetes struck between 301 and 292 BC. representing a Victory on the bow of a ship, wings outstretched, give a good idea of this type of monument. For his part, the specialist in ancient sculpture Otto Benndorf is responsible for studying the body of the statue and the fragments kept in reserve at the Louvre, and restored the statue blowing into a trumpet that she raises with her right arm, as on the coin. The two men thus managed to make a model of the Samothrace monument as a whole.Champoiseau, informed of this research, undertook a second mission to Samothrace from August 15 to 29, 1879, for the sole purpose of sending the blocks of the base and the slabs of the Victory base to the Louvre. He abandoned on the island the largest block of the base, unsculpted. Two months later, the blocks reached the Louvre Museum, where in December an assembly test was carried out in a courtyard.The curator of the Department of Antiquities, Félix Ravaisson-Mollien, then decided to reconstruct the monument, in accordance with the model of Austrian archaeologists. On the body of the statue, between 1880 and 1883 he restored the belt area in plaster, placed the right part of the marble bust, recreated the left part in plaster, attached the left marble wing with a metal frame, and replaced the entire right wing with a plaster model. But he did not reconstruct the head, arms or feet. The ship-shaped base is rebuilt and completed, except for the broken bow of the keel, and there is still a large void at the top aft. The statue was placed directly on the base. The entire monument was then placed from the front, on the upper landing of the Daru staircase, the main staircase of the museum.Champoiseau returned to Samothrace a third time in 1891 to try to obtain the Victory's head, but without success. He did however bring back debris from the drapery and base, a small fragment with an inscription and fragments of coloured plaster.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In Winged Victory of Samothrace, how is the In the 19th century of the Discovery and restorations explained?

In 1863, Charles Champoiseau (1830–1909), acting chief of the Consulate of France in Adrianopolis (now Edirne in Turkey), undertook from March 6 to May 7 the exploration of the ruins of the sanctuary of the Great Gods on the island of Samothrace. On April 13, 1863, he discovered part of the bust and the body of a large female statue in white marble accompanied by numerous fragments of drapery and feathers. He recognised this as the goddess Niké, Victory, traditionally represented in Greek antiquity as a winged woman. In the same place was a jumble of about fifteen large grey marble blocks whose form or function was unclear: he concluded it was a funerary monument. He decided to send the statue and fragments to the Louvre Museum, and to leave the large blocks of grey marble on site. Departing Samothrace at the beginning of May 1863, the statue arrived in Toulon at the end of August and in Paris on May 11, 1864.A first restoration was undertaken by Adrien Prévost de Longpérier, then curator of Antiquities at the Louvre, between 1864 and 1866. The main part of the body (2.14 m from the upper belly to the feet) is erected on a stone base, and largely completed by fragments of drapery, including the fold of himation that flares behind the legs on the Nike. The remaining fragments – the right part of the bust and a large part of the left wing – too incomplete to be placed on the statue, are stored. Given the exceptional quality of the sculpture, Longpérier decided to present the body alone, exhibited until 1880 among the Roman statues first in the Caryatid Room, then briefly in the Tiber Room.From 1875, Austrian archaeologists who, under the direction of Alexander Conze, had been excavating the buildings of the Samothrace sanctuary since 1870, studied the location where Champoiseau had found the Victory. Architect Aloïs Hauser drew the grey marble blocks left on-site and apprehended that, once properly assembled, they form the tapered bow of a warship, and that, placed on a base of slabs, they served as the basis for the statue. Tetradrachmas of Demetrios Poliorcetes struck between 301 and 292 BC. representing a Victory on the bow of a ship, wings outstretched, give a good idea of this type of monument. For his part, the specialist in ancient sculpture Otto Benndorf is responsible for studying the body of the statue and the fragments kept in reserve at the Louvre, and restored the statue blowing into a trumpet that she raises with her right arm, as on the coin. The two men thus managed to make a model of the Samothrace monument as a whole.Champoiseau, informed of this research, undertook a second mission to Samothrace from August 15 to 29, 1879, for the sole purpose of sending the blocks of the base and the slabs of the Victory base to the Louvre. He abandoned on the island the largest block of the base, unsculpted. Two months later, the blocks reached the Louvre Museum, where in December an assembly test was carried out in a courtyard.The curator of the Department of Antiquities, Félix Ravaisson-Mollien, then decided to reconstruct the monument, in accordance with the model of Austrian archaeologists. On the body of the statue, between 1880 and 1883 he restored the belt area in plaster, placed the right part of the marble bust, recreated the left part in plaster, attached the left marble wing with a metal frame, and replaced the entire right wing with a plaster model. But he did not reconstruct the head, arms or feet. The ship-shaped base is rebuilt and completed, except for the broken bow of the keel, and there is still a large void at the top aft. The statue was placed directly on the base. The entire monument was then placed from the front, on the upper landing of the Daru staircase, the main staircase of the museum.Champoiseau returned to Samothrace a third time in 1891 to try to obtain the Victory's head, but without success. He did however bring back debris from the drapery and base, a small fragment with an inscription and fragments of coloured plaster.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Describe the characteristics of the In the 19th century in Winged Victory of Samothrace's Discovery and restorations.

In 1863, Charles Champoiseau (1830–1909), acting chief of the Consulate of France in Adrianopolis (now Edirne in Turkey), undertook from March 6 to May 7 the exploration of the ruins of the sanctuary of the Great Gods on the island of Samothrace. On April 13, 1863, he discovered part of the bust and the body of a large female statue in white marble accompanied by numerous fragments of drapery and feathers. He recognised this as the goddess Niké, Victory, traditionally represented in Greek antiquity as a winged woman. In the same place was a jumble of about fifteen large grey marble blocks whose form or function was unclear: he concluded it was a funerary monument. He decided to send the statue and fragments to the Louvre Museum, and to leave the large blocks of grey marble on site. Departing Samothrace at the beginning of May 1863, the statue arrived in Toulon at the end of August and in Paris on May 11, 1864.A first restoration was undertaken by Adrien Prévost de Longpérier, then curator of Antiquities at the Louvre, between 1864 and 1866. The main part of the body (2.14 m from the upper belly to the feet) is erected on a stone base, and largely completed by fragments of drapery, including the fold of himation that flares behind the legs on the Nike. The remaining fragments – the right part of the bust and a large part of the left wing – too incomplete to be placed on the statue, are stored. Given the exceptional quality of the sculpture, Longpérier decided to present the body alone, exhibited until 1880 among the Roman statues first in the Caryatid Room, then briefly in the Tiber Room.From 1875, Austrian archaeologists who, under the direction of Alexander Conze, had been excavating the buildings of the Samothrace sanctuary since 1870, studied the location where Champoiseau had found the Victory. Architect Aloïs Hauser drew the grey marble blocks left on-site and apprehended that, once properly assembled, they form the tapered bow of a warship, and that, placed on a base of slabs, they served as the basis for the statue. Tetradrachmas of Demetrios Poliorcetes struck between 301 and 292 BC. representing a Victory on the bow of a ship, wings outstretched, give a good idea of this type of monument. For his part, the specialist in ancient sculpture Otto Benndorf is responsible for studying the body of the statue and the fragments kept in reserve at the Louvre, and restored the statue blowing into a trumpet that she raises with her right arm, as on the coin. The two men thus managed to make a model of the Samothrace monument as a whole.Champoiseau, informed of this research, undertook a second mission to Samothrace from August 15 to 29, 1879, for the sole purpose of sending the blocks of the base and the slabs of the Victory base to the Louvre. He abandoned on the island the largest block of the base, unsculpted. Two months later, the blocks reached the Louvre Museum, where in December an assembly test was carried out in a courtyard.The curator of the Department of Antiquities, Félix Ravaisson-Mollien, then decided to reconstruct the monument, in accordance with the model of Austrian archaeologists. On the body of the statue, between 1880 and 1883 he restored the belt area in plaster, placed the right part of the marble bust, recreated the left part in plaster, attached the left marble wing with a metal frame, and replaced the entire right wing with a plaster model. But he did not reconstruct the head, arms or feet. The ship-shaped base is rebuilt and completed, except for the broken bow of the keel, and there is still a large void at the top aft. The statue was placed directly on the base. The entire monument was then placed from the front, on the upper landing of the Daru staircase, the main staircase of the museum.Champoiseau returned to Samothrace a third time in 1891 to try to obtain the Victory's head, but without success. He did however bring back debris from the drapery and base, a small fragment with an inscription and fragments of coloured plaster.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In the context of Winged Victory of Samothrace, explain the In the 20th century and the Discovery and restorations.

The presentation of the Victory was modified in 1934 as part of a general redevelopment of the Daru museum and staircase, whose steps were widened and redecorated. The monument was staged to constitute the crowning of the staircase: it was advanced on the landing to be more visible from the bottom of the steps, and was put on a modern 45 cm-high block of stone, supposed to evoke a combat bridge at the bow of the ship. This presentation remained unchanged until 2013.At the declaration of the Second World War in September 1939, the Victory statue was moved along with other artefacts to the Château de Valençay (Indre) until the Liberation, and was replaced at the top of the stairs without damage in July 1945.American excavators from New York University, under the direction of Karl Lehmann, resumed exploration of the sanctuary of the Great Gods in Samothrace in 1938. In July 1950, they associated Louvre curator Jean Charbonneaux with their work, who discovered the palm of the statue's right hand in the Victory site. Two fingers preserved at the Kunsthistorische Museum in Vienna since the Austrian excavations of 1875 were reattached to the palm. The palm and fingers were then deposited in the Louvre Museum, and displayed with the statue in 1954.Two pieces of grey marble that were used to moor fishing boats on the beach below the sanctuary were retrieved and reassembled at the museum in 1952. These were studied in 1996 by Ira Mark and Marianne Hamiaux, who concluded that these pieces, jointed, constitute the block of the base abandoned by Champoiseau in 1879.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Explain the In the 20th century about the Discovery and restorations of this artwork, Winged Victory of Samothrace.

The presentation of the Victory was modified in 1934 as part of a general redevelopment of the Daru museum and staircase, whose steps were widened and redecorated. The monument was staged to constitute the crowning of the staircase: it was advanced on the landing to be more visible from the bottom of the steps, and was put on a modern 45 cm-high block of stone, supposed to evoke a combat bridge at the bow of the ship. This presentation remained unchanged until 2013.At the declaration of the Second World War in September 1939, the Victory statue was moved along with other artefacts to the Château de Valençay (Indre) until the Liberation, and was replaced at the top of the stairs without damage in July 1945.American excavators from New York University, under the direction of Karl Lehmann, resumed exploration of the sanctuary of the Great Gods in Samothrace in 1938. In July 1950, they associated Louvre curator Jean Charbonneaux with their work, who discovered the palm of the statue's right hand in the Victory site. Two fingers preserved at the Kunsthistorische Museum in Vienna since the Austrian excavations of 1875 were reattached to the palm. The palm and fingers were then deposited in the Louvre Museum, and displayed with the statue in 1954.Two pieces of grey marble that were used to moor fishing boats on the beach below the sanctuary were retrieved and reassembled at the museum in 1952. These were studied in 1996 by Ira Mark and Marianne Hamiaux, who concluded that these pieces, jointed, constitute the block of the base abandoned by Champoiseau in 1879.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In Winged Victory of Samothrace, how is the In the 20th century of the Discovery and restorations explained?

The presentation of the Victory was modified in 1934 as part of a general redevelopment of the Daru museum and staircase, whose steps were widened and redecorated. The monument was staged to constitute the crowning of the staircase: it was advanced on the landing to be more visible from the bottom of the steps, and was put on a modern 45 cm-high block of stone, supposed to evoke a combat bridge at the bow of the ship. This presentation remained unchanged until 2013.At the declaration of the Second World War in September 1939, the Victory statue was moved along with other artefacts to the Château de Valençay (Indre) until the Liberation, and was replaced at the top of the stairs without damage in July 1945.American excavators from New York University, under the direction of Karl Lehmann, resumed exploration of the sanctuary of the Great Gods in Samothrace in 1938. In July 1950, they associated Louvre curator Jean Charbonneaux with their work, who discovered the palm of the statue's right hand in the Victory site. Two fingers preserved at the Kunsthistorische Museum in Vienna since the Austrian excavations of 1875 were reattached to the palm. The palm and fingers were then deposited in the Louvre Museum, and displayed with the statue in 1954.Two pieces of grey marble that were used to moor fishing boats on the beach below the sanctuary were retrieved and reassembled at the museum in 1952. These were studied in 1996 by Ira Mark and Marianne Hamiaux, who concluded that these pieces, jointed, constitute the block of the base abandoned by Champoiseau in 1879.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Describe the characteristics of the In the 20th century in Winged Victory of Samothrace's Discovery and restorations.

The presentation of the Victory was modified in 1934 as part of a general redevelopment of the Daru museum and staircase, whose steps were widened and redecorated. The monument was staged to constitute the crowning of the staircase: it was advanced on the landing to be more visible from the bottom of the steps, and was put on a modern 45 cm-high block of stone, supposed to evoke a combat bridge at the bow of the ship. This presentation remained unchanged until 2013.At the declaration of the Second World War in September 1939, the Victory statue was moved along with other artefacts to the Château de Valençay (Indre) until the Liberation, and was replaced at the top of the stairs without damage in July 1945.American excavators from New York University, under the direction of Karl Lehmann, resumed exploration of the sanctuary of the Great Gods in Samothrace in 1938. In July 1950, they associated Louvre curator Jean Charbonneaux with their work, who discovered the palm of the statue's right hand in the Victory site. Two fingers preserved at the Kunsthistorische Museum in Vienna since the Austrian excavations of 1875 were reattached to the palm. The palm and fingers were then deposited in the Louvre Museum, and displayed with the statue in 1954.Two pieces of grey marble that were used to moor fishing boats on the beach below the sanctuary were retrieved and reassembled at the museum in 1952. These were studied in 1996 by Ira Mark and Marianne Hamiaux, who concluded that these pieces, jointed, constitute the block of the base abandoned by Champoiseau in 1879.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In the context of Winged Victory of Samothrace, explain the In the 21st century and the Discovery and restorations.

An American team led by James R. McCredie digitized the entire sanctuary to allow its 3D reconstruction between 2008 and 2014. B. D. Wescoat led the resumption of the study of the Victory enclosure and the small basic fragments preserved in reserve.In Paris, the Louvre Museum restored the entire monument with two objectives: to clean all the surfaces and improve the general presentation. The statue came down from its base to undergo scientific examination (UV, infrared, x-rays, microspectrography, marble analysis): traces of blue paint are detected on the wings and on a strip at the bottom of the mantle. The blocks of the base were disassembled one by one to be drawn and studied. The 19th-century restoration of the statue is preserved with a few details (thinning of the neck and attachment of the left arm), fragments preserved in reserve at the Louvre are added (feather at the top of the left wing, a fold at the back of the chitôn), the metal vice behind the left leg is removed. Castings of small joint fragments preserved in Samothrace are integrated into the base. A cast of the large ship block left in Samothrace was replaced by a metal base on a cylinder ensuring the proper balance of the statue. Once in place on the base, the colour contrast of the marbles of the two elements becomes obvious again. The whole is reassembled on a modern base, a little removed on the landing to facilitate the movement of visitors.The Greek government considers the Winged Victory, like the Elgin Marbles, illegally plundered and wants it repatriated to Greece. "If the French and the Louvre have a problem, we are ready to preserve and accentuate the Victory of Samothrace, if they return it to us", Deputy Minister of Foreign Affairs Akis Gerondopoulos said in 2013.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Explain the In the 21st century about the Discovery and restorations of this artwork, Winged Victory of Samothrace.

An American team led by James R. McCredie digitized the entire sanctuary to allow its 3D reconstruction between 2008 and 2014. B. D. Wescoat led the resumption of the study of the Victory enclosure and the small basic fragments preserved in reserve.In Paris, the Louvre Museum restored the entire monument with two objectives: to clean all the surfaces and improve the general presentation. The statue came down from its base to undergo scientific examination (UV, infrared, x-rays, microspectrography, marble analysis): traces of blue paint are detected on the wings and on a strip at the bottom of the mantle. The blocks of the base were disassembled one by one to be drawn and studied. The 19th-century restoration of the statue is preserved with a few details (thinning of the neck and attachment of the left arm), fragments preserved in reserve at the Louvre are added (feather at the top of the left wing, a fold at the back of the chitôn), the metal vice behind the left leg is removed. Castings of small joint fragments preserved in Samothrace are integrated into the base. A cast of the large ship block left in Samothrace was replaced by a metal base on a cylinder ensuring the proper balance of the statue. Once in place on the base, the colour contrast of the marbles of the two elements becomes obvious again. The whole is reassembled on a modern base, a little removed on the landing to facilitate the movement of visitors.The Greek government considers the Winged Victory, like the Elgin Marbles, illegally plundered and wants it repatriated to Greece. "If the French and the Louvre have a problem, we are ready to preserve and accentuate the Victory of Samothrace, if they return it to us", Deputy Minister of Foreign Affairs Akis Gerondopoulos said in 2013.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In Winged Victory of Samothrace, how is the In the 21st century of the Discovery and restorations explained?

An American team led by James R. McCredie digitized the entire sanctuary to allow its 3D reconstruction between 2008 and 2014. B. D. Wescoat led the resumption of the study of the Victory enclosure and the small basic fragments preserved in reserve.In Paris, the Louvre Museum restored the entire monument with two objectives: to clean all the surfaces and improve the general presentation. The statue came down from its base to undergo scientific examination (UV, infrared, x-rays, microspectrography, marble analysis): traces of blue paint are detected on the wings and on a strip at the bottom of the mantle. The blocks of the base were disassembled one by one to be drawn and studied. The 19th-century restoration of the statue is preserved with a few details (thinning of the neck and attachment of the left arm), fragments preserved in reserve at the Louvre are added (feather at the top of the left wing, a fold at the back of the chitôn), the metal vice behind the left leg is removed. Castings of small joint fragments preserved in Samothrace are integrated into the base. A cast of the large ship block left in Samothrace was replaced by a metal base on a cylinder ensuring the proper balance of the statue. Once in place on the base, the colour contrast of the marbles of the two elements becomes obvious again. The whole is reassembled on a modern base, a little removed on the landing to facilitate the movement of visitors.The Greek government considers the Winged Victory, like the Elgin Marbles, illegally plundered and wants it repatriated to Greece. "If the French and the Louvre have a problem, we are ready to preserve and accentuate the Victory of Samothrace, if they return it to us", Deputy Minister of Foreign Affairs Akis Gerondopoulos said in 2013.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Describe the characteristics of the In the 21st century in Winged Victory of Samothrace's Discovery and restorations.

An American team led by James R. McCredie digitized the entire sanctuary to allow its 3D reconstruction between 2008 and 2014. B. D. Wescoat led the resumption of the study of the Victory enclosure and the small basic fragments preserved in reserve.In Paris, the Louvre Museum restored the entire monument with two objectives: to clean all the surfaces and improve the general presentation. The statue came down from its base to undergo scientific examination (UV, infrared, x-rays, microspectrography, marble analysis): traces of blue paint are detected on the wings and on a strip at the bottom of the mantle. The blocks of the base were disassembled one by one to be drawn and studied. The 19th-century restoration of the statue is preserved with a few details (thinning of the neck and attachment of the left arm), fragments preserved in reserve at the Louvre are added (feather at the top of the left wing, a fold at the back of the chitôn), the metal vice behind the left leg is removed. Castings of small joint fragments preserved in Samothrace are integrated into the base. A cast of the large ship block left in Samothrace was replaced by a metal base on a cylinder ensuring the proper balance of the statue. Once in place on the base, the colour contrast of the marbles of the two elements becomes obvious again. The whole is reassembled on a modern base, a little removed on the landing to facilitate the movement of visitors.The Greek government considers the Winged Victory, like the Elgin Marbles, illegally plundered and wants it repatriated to Greece. "If the French and the Louvre have a problem, we are ready to preserve and accentuate the Victory of Samothrace, if they return it to us", Deputy Minister of Foreign Affairs Akis Gerondopoulos said in 2013.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In the context of Winged Victory of Samothrace, explain the The statue and the Description.

The statue, in white Parian marble, depicts a winged woman, the goddess of Victory (Niké), alighting on the bow of a warship.The Nike is dressed in a long tunic (χιτών, chitôn) in a very fine fabric, with a folded flap and belted under the chest. It was attached to the shoulders by two thin straps (the restoration is not accurate). The lower body is partially covered by a thick mantle (ἱμάτιον, himation) rolled up at the waist and untied when uncovering the entire left leg; one end slides between the legs to the ground, and the other, much shorter, flies freely in the back. The mantle is falling, and only the force of the wind holds it on her right leg. The sculptor has multiplied the effects of draperies, between places where the fabric is plated against the body by revealing its shapes, especially on the belly, and those where it accumulates in folds deeply hollowed out casting a strong shadow, as between the legs. This extreme virtuosity concerns the left side and front of the statue. On the right side, the layout of the drapery is reduced to the main lines of the clothes, in a much less elaborate work.The goddess advances, leaning on her right leg. The two feet that were bare have not been found. The right touched the ground, the heel still slightly raised; the left foot, the leg strongly stretched back, was still carried in the air. The goddess is not walking, she is finishing her flight, her large wings still spread out backwards. The arms were also not found, but the right shoulder raised indicates that the right arm was raised to the side. With her elbow bent, the goddess made  a victorious gesture of salvation with her hand: this hand with outstretched fingers held nothing (neither trumpet nor crown). There is no clue to reconstructing the position of the left arm, probably lowered, very slightly bent; the goddess may have held a stylis (a naval standard) on this side, a kind of mast taken as a trophy on the enemy ship, as seen on coins. The statue is designed to be seen three quarters left (right for the spectator), from where the lines of the composition are very clear: a vertical from the neck to the right foot, and an oblique starting from the neck diagonally along the left leg. "The whole body is inscribed in a rectangular triangle, a simple but very solid geometric figure: it was necessary to support both the fulfilled shapes of the goddess, the accumulation of draperies, and the energy of movement". Most recently the Alula feather was restored to the left wing in a flared position, as it would be for a bird landing.The art historian H. W. Janson has pointed out that unlike earlier Greek or Near Eastern sculptures, the Nike creates a deliberate relationship to the imaginary space around the goddess. The wind that has carried her and which she is fighting off, straining to keep steady – as mentioned the original mounting had her standing on a ship's prow, just having landed – is the invisible complement of the figure and the viewer is made to imagine it. At the same time, this expanded space heightens the symbolic force of the work; the wind and the sea are suggested as metaphors of struggle, destiny and divine help or grace. This kind of interplay between a statue and the space conjured up would become a common device in baroque and romantic art, about two thousand years later. It is present in Michelangelo's sculpture of David: David's gaze and pose show where he is seeing his adversary Goliath and his awareness of the moment – but it is rare in ancient art.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Explain the The statue about the Description of this artwork, Winged Victory of Samothrace.

The statue, in white Parian marble, depicts a winged woman, the goddess of Victory (Niké), alighting on the bow of a warship.The Nike is dressed in a long tunic (χιτών, chitôn) in a very fine fabric, with a folded flap and belted under the chest. It was attached to the shoulders by two thin straps (the restoration is not accurate). The lower body is partially covered by a thick mantle (ἱμάτιον, himation) rolled up at the waist and untied when uncovering the entire left leg; one end slides between the legs to the ground, and the other, much shorter, flies freely in the back. The mantle is falling, and only the force of the wind holds it on her right leg. The sculptor has multiplied the effects of draperies, between places where the fabric is plated against the body by revealing its shapes, especially on the belly, and those where it accumulates in folds deeply hollowed out casting a strong shadow, as between the legs. This extreme virtuosity concerns the left side and front of the statue. On the right side, the layout of the drapery is reduced to the main lines of the clothes, in a much less elaborate work.The goddess advances, leaning on her right leg. The two feet that were bare have not been found. The right touched the ground, the heel still slightly raised; the left foot, the leg strongly stretched back, was still carried in the air. The goddess is not walking, she is finishing her flight, her large wings still spread out backwards. The arms were also not found, but the right shoulder raised indicates that the right arm was raised to the side. With her elbow bent, the goddess made  a victorious gesture of salvation with her hand: this hand with outstretched fingers held nothing (neither trumpet nor crown). There is no clue to reconstructing the position of the left arm, probably lowered, very slightly bent; the goddess may have held a stylis (a naval standard) on this side, a kind of mast taken as a trophy on the enemy ship, as seen on coins. The statue is designed to be seen three quarters left (right for the spectator), from where the lines of the composition are very clear: a vertical from the neck to the right foot, and an oblique starting from the neck diagonally along the left leg. "The whole body is inscribed in a rectangular triangle, a simple but very solid geometric figure: it was necessary to support both the fulfilled shapes of the goddess, the accumulation of draperies, and the energy of movement". Most recently the Alula feather was restored to the left wing in a flared position, as it would be for a bird landing.The art historian H. W. Janson has pointed out that unlike earlier Greek or Near Eastern sculptures, the Nike creates a deliberate relationship to the imaginary space around the goddess. The wind that has carried her and which she is fighting off, straining to keep steady – as mentioned the original mounting had her standing on a ship's prow, just having landed – is the invisible complement of the figure and the viewer is made to imagine it. At the same time, this expanded space heightens the symbolic force of the work; the wind and the sea are suggested as metaphors of struggle, destiny and divine help or grace. This kind of interplay between a statue and the space conjured up would become a common device in baroque and romantic art, about two thousand years later. It is present in Michelangelo's sculpture of David: David's gaze and pose show where he is seeing his adversary Goliath and his awareness of the moment – but it is rare in ancient art.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In Winged Victory of Samothrace, how is the The statue of the Description explained?

The statue, in white Parian marble, depicts a winged woman, the goddess of Victory (Niké), alighting on the bow of a warship.The Nike is dressed in a long tunic (χιτών, chitôn) in a very fine fabric, with a folded flap and belted under the chest. It was attached to the shoulders by two thin straps (the restoration is not accurate). The lower body is partially covered by a thick mantle (ἱμάτιον, himation) rolled up at the waist and untied when uncovering the entire left leg; one end slides between the legs to the ground, and the other, much shorter, flies freely in the back. The mantle is falling, and only the force of the wind holds it on her right leg. The sculptor has multiplied the effects of draperies, between places where the fabric is plated against the body by revealing its shapes, especially on the belly, and those where it accumulates in folds deeply hollowed out casting a strong shadow, as between the legs. This extreme virtuosity concerns the left side and front of the statue. On the right side, the layout of the drapery is reduced to the main lines of the clothes, in a much less elaborate work.The goddess advances, leaning on her right leg. The two feet that were bare have not been found. The right touched the ground, the heel still slightly raised; the left foot, the leg strongly stretched back, was still carried in the air. The goddess is not walking, she is finishing her flight, her large wings still spread out backwards. The arms were also not found, but the right shoulder raised indicates that the right arm was raised to the side. With her elbow bent, the goddess made  a victorious gesture of salvation with her hand: this hand with outstretched fingers held nothing (neither trumpet nor crown). There is no clue to reconstructing the position of the left arm, probably lowered, very slightly bent; the goddess may have held a stylis (a naval standard) on this side, a kind of mast taken as a trophy on the enemy ship, as seen on coins. The statue is designed to be seen three quarters left (right for the spectator), from where the lines of the composition are very clear: a vertical from the neck to the right foot, and an oblique starting from the neck diagonally along the left leg. "The whole body is inscribed in a rectangular triangle, a simple but very solid geometric figure: it was necessary to support both the fulfilled shapes of the goddess, the accumulation of draperies, and the energy of movement". Most recently the Alula feather was restored to the left wing in a flared position, as it would be for a bird landing.The art historian H. W. Janson has pointed out that unlike earlier Greek or Near Eastern sculptures, the Nike creates a deliberate relationship to the imaginary space around the goddess. The wind that has carried her and which she is fighting off, straining to keep steady – as mentioned the original mounting had her standing on a ship's prow, just having landed – is the invisible complement of the figure and the viewer is made to imagine it. At the same time, this expanded space heightens the symbolic force of the work; the wind and the sea are suggested as metaphors of struggle, destiny and divine help or grace. This kind of interplay between a statue and the space conjured up would become a common device in baroque and romantic art, about two thousand years later. It is present in Michelangelo's sculpture of David: David's gaze and pose show where he is seeing his adversary Goliath and his awareness of the moment – but it is rare in ancient art.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Describe the characteristics of the The statue in Winged Victory of Samothrace's Description.

The statue, in white Parian marble, depicts a winged woman, the goddess of Victory (Niké), alighting on the bow of a warship.The Nike is dressed in a long tunic (χιτών, chitôn) in a very fine fabric, with a folded flap and belted under the chest. It was attached to the shoulders by two thin straps (the restoration is not accurate). The lower body is partially covered by a thick mantle (ἱμάτιον, himation) rolled up at the waist and untied when uncovering the entire left leg; one end slides between the legs to the ground, and the other, much shorter, flies freely in the back. The mantle is falling, and only the force of the wind holds it on her right leg. The sculptor has multiplied the effects of draperies, between places where the fabric is plated against the body by revealing its shapes, especially on the belly, and those where it accumulates in folds deeply hollowed out casting a strong shadow, as between the legs. This extreme virtuosity concerns the left side and front of the statue. On the right side, the layout of the drapery is reduced to the main lines of the clothes, in a much less elaborate work.The goddess advances, leaning on her right leg. The two feet that were bare have not been found. The right touched the ground, the heel still slightly raised; the left foot, the leg strongly stretched back, was still carried in the air. The goddess is not walking, she is finishing her flight, her large wings still spread out backwards. The arms were also not found, but the right shoulder raised indicates that the right arm was raised to the side. With her elbow bent, the goddess made  a victorious gesture of salvation with her hand: this hand with outstretched fingers held nothing (neither trumpet nor crown). There is no clue to reconstructing the position of the left arm, probably lowered, very slightly bent; the goddess may have held a stylis (a naval standard) on this side, a kind of mast taken as a trophy on the enemy ship, as seen on coins. The statue is designed to be seen three quarters left (right for the spectator), from where the lines of the composition are very clear: a vertical from the neck to the right foot, and an oblique starting from the neck diagonally along the left leg. "The whole body is inscribed in a rectangular triangle, a simple but very solid geometric figure: it was necessary to support both the fulfilled shapes of the goddess, the accumulation of draperies, and the energy of movement". Most recently the Alula feather was restored to the left wing in a flared position, as it would be for a bird landing.The art historian H. W. Janson has pointed out that unlike earlier Greek or Near Eastern sculptures, the Nike creates a deliberate relationship to the imaginary space around the goddess. The wind that has carried her and which she is fighting off, straining to keep steady – as mentioned the original mounting had her standing on a ship's prow, just having landed – is the invisible complement of the figure and the viewer is made to imagine it. At the same time, this expanded space heightens the symbolic force of the work; the wind and the sea are suggested as metaphors of struggle, destiny and divine help or grace. This kind of interplay between a statue and the space conjured up would become a common device in baroque and romantic art, about two thousand years later. It is present in Michelangelo's sculpture of David: David's gaze and pose show where he is seeing his adversary Goliath and his awareness of the moment – but it is rare in ancient art.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In the context of Winged Victory of Samothrace, explain the The boat and the base and the Description.

These are carved from grey marble veined with white, identified as that of the quarries of Lartos, in Rhodes. The base has the shape of the bow of a Greek Hellenistic warship: long and narrow, it is covered at the front by a combat deck on which the statue is located. It has reinforced, projecting oar boxes on the sides that supported two rows of staggered oars (the oval oar slots are also depicted). The keel is rounded. At the bottom of the bow, at the waterline, a large triple-pronged spur would have been sculpted, and a little higher up, a smaller two-bladed ram that would have been used to smash the hull of the enemy ship would have been shown. The top of the bow was crowned by a high and curved bow ornament (the acrostolion). These missing elements have not been reconstructed, which greatly reduces the vessel's warlike appearance.Epigraphist Christian Blinkenberg thought that this bow was that of a trihēmiolia, a type of warship often named in Rhodes inscriptions: the island's shipyards were renowned, and its war fleet important. But specialists in ancient naval architecture do not agree on the ascription of the trihemolia. It can only be said that the Samothrace bow has boxes of oars and two benches of superimposed oars. Each oar being operated by several rowers, this can also be suitable for a quadrireme (4 files of rowers) or a quinquereme (5 files of rowers). These ships were widespread in all Hellenistic war fleets, including the Rhodian fleet.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Explain the The boat and the base about the Description of this artwork, Winged Victory of Samothrace.

These are carved from grey marble veined with white, identified as that of the quarries of Lartos, in Rhodes. The base has the shape of the bow of a Greek Hellenistic warship: long and narrow, it is covered at the front by a combat deck on which the statue is located. It has reinforced, projecting oar boxes on the sides that supported two rows of staggered oars (the oval oar slots are also depicted). The keel is rounded. At the bottom of the bow, at the waterline, a large triple-pronged spur would have been sculpted, and a little higher up, a smaller two-bladed ram that would have been used to smash the hull of the enemy ship would have been shown. The top of the bow was crowned by a high and curved bow ornament (the acrostolion). These missing elements have not been reconstructed, which greatly reduces the vessel's warlike appearance.Epigraphist Christian Blinkenberg thought that this bow was that of a trihēmiolia, a type of warship often named in Rhodes inscriptions: the island's shipyards were renowned, and its war fleet important. But specialists in ancient naval architecture do not agree on the ascription of the trihemolia. It can only be said that the Samothrace bow has boxes of oars and two benches of superimposed oars. Each oar being operated by several rowers, this can also be suitable for a quadrireme (4 files of rowers) or a quinquereme (5 files of rowers). These ships were widespread in all Hellenistic war fleets, including the Rhodian fleet.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In Winged Victory of Samothrace, how is the The boat and the base of the Description explained?

These are carved from grey marble veined with white, identified as that of the quarries of Lartos, in Rhodes. The base has the shape of the bow of a Greek Hellenistic warship: long and narrow, it is covered at the front by a combat deck on which the statue is located. It has reinforced, projecting oar boxes on the sides that supported two rows of staggered oars (the oval oar slots are also depicted). The keel is rounded. At the bottom of the bow, at the waterline, a large triple-pronged spur would have been sculpted, and a little higher up, a smaller two-bladed ram that would have been used to smash the hull of the enemy ship would have been shown. The top of the bow was crowned by a high and curved bow ornament (the acrostolion). These missing elements have not been reconstructed, which greatly reduces the vessel's warlike appearance.Epigraphist Christian Blinkenberg thought that this bow was that of a trihēmiolia, a type of warship often named in Rhodes inscriptions: the island's shipyards were renowned, and its war fleet important. But specialists in ancient naval architecture do not agree on the ascription of the trihemolia. It can only be said that the Samothrace bow has boxes of oars and two benches of superimposed oars. Each oar being operated by several rowers, this can also be suitable for a quadrireme (4 files of rowers) or a quinquereme (5 files of rowers). These ships were widespread in all Hellenistic war fleets, including the Rhodian fleet.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Describe the characteristics of the The boat and the base in Winged Victory of Samothrace's Description.

These are carved from grey marble veined with white, identified as that of the quarries of Lartos, in Rhodes. The base has the shape of the bow of a Greek Hellenistic warship: long and narrow, it is covered at the front by a combat deck on which the statue is located. It has reinforced, projecting oar boxes on the sides that supported two rows of staggered oars (the oval oar slots are also depicted). The keel is rounded. At the bottom of the bow, at the waterline, a large triple-pronged spur would have been sculpted, and a little higher up, a smaller two-bladed ram that would have been used to smash the hull of the enemy ship would have been shown. The top of the bow was crowned by a high and curved bow ornament (the acrostolion). These missing elements have not been reconstructed, which greatly reduces the vessel's warlike appearance.Epigraphist Christian Blinkenberg thought that this bow was that of a trihēmiolia, a type of warship often named in Rhodes inscriptions: the island's shipyards were renowned, and its war fleet important. But specialists in ancient naval architecture do not agree on the ascription of the trihemolia. It can only be said that the Samothrace bow has boxes of oars and two benches of superimposed oars. Each oar being operated by several rowers, this can also be suitable for a quadrireme (4 files of rowers) or a quinquereme (5 files of rowers). These ships were widespread in all Hellenistic war fleets, including the Rhodian fleet.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In the context of Winged Victory of Samothrace, explain the Dimensions and construction of the set and the Description.

Total height: 5.57 mStatue height: 2.75 m with wings; 2.40 m body without headShip height: 2.01 m; length: 4.29 m; width max.: 2.48 mBase height: 0.36 m; length: 4.76 m; width: 1.76 mThe Victory statue, about 1.6 times life size, is not cut from a single block of marble, but composed of six blocks worked separately: the body, the bust with the head, the two arms and the two wings. These blocks were assembled together by metal braces (bronze or iron). This technique, used for a long time by Greek sculptors for the protruding parts of statues, was used in Hellenistic times for the body itself, thus making it possible to use smaller pieces of marble, therefore less rare and less expensive. In the case of Victory, the sculptor optimized this technique by tilting the joint surfaces that connect the wings to the body by 20° forward, which ensured their cantilevered support in the back. To the body-block were added smaller projecting pieces: the end of the flying mantle at the back and the end of the fold falling to the ground in front of the left leg have been reattached; the right foot, the back of the left leg with the foot and a drapery fold in front of the legs are lost.The ship is composed of 16 blocks divided into three increasingly wide assizes aft, placed on a rectangular base. The seventeenth block, which remained in Samothrace, completed the void at the back of the upper assembly, just under the statue. Its weight allowed the cantilever of the blocks of the protruding oar boxes to hold on the sides. The baseboard of the statue was embedded in a basin dug on this block. Its contours, fully visible during the 2014 restoration, made it possible to determine the location of the statue very precisely.The statue and base are inseparable to ensure the balance of the monument, designed as a whole.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: Explain the Dimensions and construction of the set about the Description of this artwork, Winged Victory of Samothrace.

Total height: 5.57 mStatue height: 2.75 m with wings; 2.40 m body without headShip height: 2.01 m; length: 4.29 m; width max.: 2.48 mBase height: 0.36 m; length: 4.76 m; width: 1.76 mThe Victory statue, about 1.6 times life size, is not cut from a single block of marble, but composed of six blocks worked separately: the body, the bust with the head, the two arms and the two wings. These blocks were assembled together by metal braces (bronze or iron). This technique, used for a long time by Greek sculptors for the protruding parts of statues, was used in Hellenistic times for the body itself, thus making it possible to use smaller pieces of marble, therefore less rare and less expensive. In the case of Victory, the sculptor optimized this technique by tilting the joint surfaces that connect the wings to the body by 20° forward, which ensured their cantilevered support in the back. To the body-block were added smaller projecting pieces: the end of the flying mantle at the back and the end of the fold falling to the ground in front of the left leg have been reattached; the right foot, the back of the left leg with the foot and a drapery fold in front of the legs are lost.The ship is composed of 16 blocks divided into three increasingly wide assizes aft, placed on a rectangular base. The seventeenth block, which remained in Samothrace, completed the void at the back of the upper assembly, just under the statue. Its weight allowed the cantilever of the blocks of the protruding oar boxes to hold on the sides. The baseboard of the statue was embedded in a basin dug on this block. Its contours, fully visible during the 2014 restoration, made it possible to determine the location of the statue very precisely.The statue and base are inseparable to ensure the balance of the monument, designed as a whole.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg


Winged Victory of Samothrace

Prompt: In Winged Victory of Samothrace, how is the Dimensions and construction of the set of the Description explained?

Total height: 5.57 mStatue height: 2.75 m with wings; 2.40 m body without headShip height: 2.01 m; length: 4.29 m; width max.: 2.48 mBase height: 0.36 m; length: 4.76 m; width: 1.76 mThe Victory statue, about 1.6 times life size, is not cut from a single block of marble, but composed of six blocks worked separately: the body, the bust with the head, the two arms and the two wings. These blocks were assembled together by metal braces (bronze or iron). This technique, used for a long time by Greek sculptors for the protruding parts of statues, was used in Hellenistic times for the body itself, thus making it possible to use smaller pieces of marble, therefore less rare and less expensive. In the case of Victory, the sculptor optimized this technique by tilting the joint surfaces that connect the wings to the body by 20° forward, which ensured their cantilevered support in the back. To the body-block were added smaller projecting pieces: the end of the flying mantle at the back and the end of the fold falling to the ground in front of the left leg have been reattached; the right foot, the back of the left leg with the foot and a drapery fold in front of the legs are lost.The ship is composed of 16 blocks divided into three increasingly wide assizes aft, placed on a rectangular base. The seventeenth block, which remained in Samothrace, completed the void at the back of the upper assembly, just under the statue. Its weight allowed the cantilever of the blocks of the protruding oar boxes to hold on the sides. The baseboard of the statue was embedded in a basin dug on this block. Its contours, fully visible during the 2014 restoration, made it possible to determine the location of the statue very precisely.The statue and base are inseparable to ensure the balance of the monument, designed as a whole.

Image:Victoire de Samothrace parties conservées de la statue.jpg

File:Victoire de Samothrace - Musee du Louvre - 20190812.jpg

General plan of the [[Samothrace temple complex

The ''Nike of Samothrace'' at the Louvre Palace in Paris, at the top of the main staircase.

Image:Victoire de Samothrace - vue de gauche, détail de la proue.JPG

File:F4135 Paris Louvre victoire Samontrace rwk.jpg

Category:Archaeological discoveries in the Aegean Islands

Construction of the assembled monument, (drawing V. Foret).

Image:Schéma de la Victoire de Samothrace.jpg

Model of the ''Victory of Samothrace'' after Benndorf and Hauser, 1880.

The ''Winged Victory of Samothrace'' after the restoration of 2014.

Category:2nd-century BC Greek sculptures

''Nike of Samothrace'': the conserved parts of the statue, after Benndorf, 1880

Category:Ancient Greek and Roman sculptures in the Louvre

Naval monument in the agora of [[Cyrene (Libya)

Image:Tétradrachme en argent représentant Poséidon à droite.jpg