It is dark inside the tumulus as only the artifacts in the showcases and the tomb entrances are lit up. A wide wooden staircase leads down to the impressive entrance door to Philip’s tomb. The facade shines in the spotlights, and I feel a magnetic attraction, like a moth towards the light. A huge Plexiglas wall separates me from the majestic entrance door with its delicate colors. For a moment, I’m disappointed that I am not allowed inside, but it makes sense to keep out the crowds that might influence the conservation and preservation of the structure and its decoration. I stare at the bright colors that have defied so many centuries. The closed door is flanked by two half-Doric columns, followed by a flat pillar trimmed with a red and blue band at the top. Above the doorway, the triglyphs have been painted dark blue with ditto guttae, resting on a bright-red regulae. As a crown above it runs a 5.6-meter-long fresco of a hunting party in full action set in a wooded area. This is high-quality work executed in magnificent pastel colors. One of the boys on horseback is thought to be Alexander. This landscape is framed at the top and bottom by a line of egg motives alternatively colored in red and blue, and the cornice above looks as if it were painted just yesterday. I’m entirely taken by this richness in color, having my vantage point all to myself for a moment – as if I am being received by a special audience. Climbing back the squeaking steps, it all feels terribly unreal, more like a dream. No description or picture can prepare you for such a lavish decoration on such an impressive monument!
According to Macedonian customs, the King’s body had been cremated and the remaining bones washed in wine before being wrapped in a purple cloth which in turn was carefully placed inside a golden chest or larnax, together with his royal crown made of gold oak leaves. This larnax is on ostentatious display, proudly showing its 7.820 kilograms of pure hammered gold. The Macedonian sun with 16 rays can be seen on the top lid, and a band of rosettes filled with blue enamel runs around the box between reliefs of palmettos and lotus buds. The vertical ends of the chest are also decorated with rosettes and end in legs of lion paws. What a beauty!
The oak leaves of the crown catch the light of all the spots and make it the heaviest and most impressive crown ever found in Greek antiquity. For those interested in facts and figures: the crown counts 313 leaves and 68 acorns and weighs exactly 714 grams. With the larnax, this crown is the eye-catcher, and the visitor cannot miss it. But there is more like, for instance, Philip’s cuirass made of iron and inlaid with gold; his gold gorythos (bow and arrow case) depicting fights in full action reminding us of Scythian examples; his inlaid sword and his enormous shield (nearly one meter in diameter). He must have been a very strong man! Besides his personal armor, a significant number of utensils are on display, like bronze bowls, plates and vases, silver wine jugs and even strainers, bronze lamps, etc. Most of the objects honestly look as if they were made just yesterday.
Only a little remains of the wooden kline (banquet bench), except for the well-preserved glass, gold, and ivory decorations. Over the long side ran the story of a royal hunt in which Philip himself participated, but also his son Alexander and other Macedonian noblemen. As far as Alexander is concerned, this is the only picture we have for which we are sure he posed. An attempt is made to reconstruct this kline and to put the remaining pieces in their rightful place. Much patience must have been involved in this reconstruction!
Thanks to a scale model, the construction and layout of the Tomb of King Philip II of Macedonia is further explained: a large double door gives access to a rectangular portal behind which the actual burial chamber is located. Still, it is not easy to picture how the interior would have looked like with the larnax resting inside a marble sarcophagus and the many burial gifts displayed around it. Taking a last walk around all these treasures, it is hard to realize that these artifacts are over 2,500 years old. What a privilege to see this with my own eyes!
Unfortunately, we don’t know much about Alexander’s role in his father’s funeral or how much time he spent constructing the present tomb and/or the vast covering tumulus. In-depth research made mainly by the leading archaeologist, Manolis Andronicos, indicates that at least some aspects have been rushed, such as the plastering of the inside walls of Philip’s tomb. We know that Alexander’s priority number one was to eliminate all claims to the Macedonian throne and to avenge the murder of his father. Yet, on top of that, he had to cope with the Greek revolt and face his northern neighbors being on the warpath again, which may have reduced the time he would otherwise have spent on proper funeral rites. For now, this question remains unanswered.
Unfortunately, we don’t know much about Alexander’s role in his father’s funeral or how much time he spent constructing the present tomb and/or the vast covering tumulus. In-depth research made mainly by the leading archaeologist, Manolis Andronicos, indicates that at least some aspects have been rushed, such as the plastering of the inside walls of Philip’s tomb. We know that Alexander’s priority number one was to eliminate all claims to the Macedonian throne and to avenge the murder of his father. Yet, on top of that, he had to cope with the Greek revolt and face his northern neighbors being on the warpath again, which may have reduced the time he would otherwise have spent on proper funeral rites. For now, this question remains unanswered.
I include this Youtube view of the tumulus of Vergina as extra information. Inside there was enough room for more tombs: the Tomb of a young Macedonian prince (perhaps that of Alexander IV, the son of Alexander the Great and Roxane) and the so-called Tomb of Persephone that owes its name to the vivid frescoes on the inside walls. In fact, this last grave which is not exactly a big hit is of rare artistic quality: strong brush strokes, color combinations, and the depth of the image are absolutely sublime. You would expect it to be modern the way the scene is depicted with a few simple lines yet at the same time with firm and decisive movements.
Thank you for your description and your blog. I find I can be right there with you as you describe nearly every breath you take within the complex. Thank you for creating / continuing such a rich resource of Information on a man whom I admire and continue to soak my mind into! So inspiring and fascinating...
ReplyDeleteI agree with you: Alexander keeps fascinating and inspiring over the centuries. He would be very pleased, don't you think so?
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