When talking about Macedonian shields, our thoughts
automatically turn to those carrying a 16-rayed star like the one on the lid of King Philip's golden larnax displayed at the Museum of Vergina.
What should be simple and straightforward, in reality,
isn't.
The first king to use the Macedonian sun emblem may be Archelaus
(413-399 BC), i.e., well before Philip II came to power. In Alexander's
days, the number of sun rays varied from eight to twelve or sixteen. Alternatively,
the center of the shield could be a disc that remained blank or was filled with
a Gorgon's head, the face of Heracles, etc. Such a disc was usually surrounded
by a varying number of crescents. Other shields may seem unadorned, but it has
been documented that many were painted only. That would make sense when looking
at the row of armor and shields lining the street in Dion.
The monument was commissioned by Alexander
after his victory at the Granicus.
As I have come across many examples of shied decorations,
either on paintings, reliefs, coins, or other works of art, it might be
interesting to highlight some examples.
For a start, today's flag of the Republic of Macedonia
shows a sun with 16 rays, the so-called "Vergina-Sun."
A bucranium found in Apollonia Pontica, modern Sozopol, Bulgaria,
shows an eight-rayed star, which leads that country to claim that the origin of
the "Vergina-Sun" is theirs (see: The Origin of the Macedonian star was Thracian?)
The excavations in Albania have so far yielded several
examples of shields they call Illyrian but look very Macedonian at first
glance. I was told that the difference with a Macedonian shield was the
curving. Whether that is true or not, I don't know (see: Looking for Illyrian remains in Albania).
At the small Museum
of Apollonia, Albania, I saw my first
Illyrian shield from the 4th century BC that looked very much like the
Macedonian one. A series of triple crescents surround the central Medusa head
with shiny eyes.
The Skanderberg
Museum proudly exhibits
an Illyrian shield with similar half-crescents but with a six-rayed star at its
center.
Two Illyrian shields are embossed on a leather belt
buckle at the Archaeological Museum of Tirana. In this case,
we see a central disc surrounded by respectively four and five larger double
crescents.
From the same period, a striking limestone mold for a
leather shield cover was found in Egypt. It was made for soldiers of Ptolemy in
330 BC. It has typical Macedonian features with a central Medusa head
surrounded by triple concentric circles holding a small eight-rayed Macedonian
star (see: Alexander's
Legacy. Allard Pierson Museum in Amsterdam).
The Tomb of Agios Athanasios from
the era of Alexander
has been attributed to a Macedonian nobleman. Although looted in
antiquity, the narrow frieze above the entrance holds precious information
about Macedonian daily life and its army in blasting colors. The lively scenes
have been photographed in detail and digitally restored for all to examine at
the Archaeological Museum of Thessaloniki (see: The Macedonian Tomb of Agios Athanasios in
Thessaloniki). Of particular interest are the three
shields, two of which show an eight-rayed star surrounded by a broad-colored
rim. These shields are painted, as are other examples on the
walls of grave monuments. It remains an intriguing question whether shields
used in combat were painted as well. Color coding may have contributed to
bringing soldiers of the same unit together. Still, I fail to see how Alexander's
Macedonians would have carried paint to maintain the distinctive coding during
the many skirmishes and battles.
A unique set of shields can be admired inside the Tomb of
Lyson and Kallikles in Lefkadia,
Greece (see: Alexander's schooling
at Mieza). The one painted in the north lunette has a
blue eight-rayed star at its center and is edged with a crown of leaves. The
shield in the south lunette is defined as the 'familiar Macedonian' shield with
an empty disc at its center and surrounded by eight crescents. The tomb is
dated to c.250 BC.
Another specimen is a bronze shield from the collection
of the Getty Museum in Malibu,
California. It definitely has a
Macedonian look because of the central six-rayed star (see: A magnificent Greek shield).
The inscription reveals that it was made in Pontus
on the Black Sea for King
Pharnaces
I. Since we do not know when exactly Pharnaces died, we
can only assume it was made between 160 and 154 BC, when his brother Mithridates IV
succeeded him to the throne.
From the cities that disappeared under the ashes of Mount Vesuvius after the eruption of 79 AD, I like the
fresco from Boscoreale,
now at the Archaeological Museum of Naples (see: Fresco of a Macedonian at Boscoreale).
The painting, based on a mid-3rd century BC original, was retrieved from the
Villa of P. Fannius Synistor and shows a scene in which the principal figure
sits next to an eight-rayed Macedonian shield resting at his feet. According to
some sources, it would depict Antigonus II Gonatas (the son of Demetrios I of Macedonia) with his mother, Phila,
or simply be the personification of Macedonia and Asia/Persia. Another magnificent fresco is still in situ
at the Villa of Poppea,
Nero's
wife, in nearby Oplontis. A life-size view of the Temple of Apollo with eight-rayed Macedonian
shields painted between the columns covers a wall in the large sitting room.
Wow!
Later rulers and countries held Alexander and Macedonia in great esteem, and the Romans' admiration is an obvious example!
These Pompeian frescoes are taken from original Hellenistic paintings by III and II century BC. I wouldn't be surprised if these originals were exposed not in Macedonia,but in Alexandria of Egypt. I think that the Ptolemaic Kings cared a lot about their Macedonian heritage,so shields with Vergina star ( and Kauisa hats and clamis cape) must have been common decorations for paintings and frescoes in Alexandria.Is possible that these themes spread in Italy after the conquest of Egypt by Octavianus,after the fall of Cleopatra and Anthony.
ReplyDeletePtolemy I Soter and his descendents definitely held Macedonian traditions in high esteem and we owe them a great deal. I’m not so sure though that the Pompean frescoes were inspired by Alexandrian examples.
DeleteI rather flavor a direct legacy from Macedonia itself since it was conquered by the Romans in 168 BC. They looted great amounts of art works, which they brought to Rome. When the rich and famous of Rome built their summer residences at the foot of the Vesuvius, they adopted this new style.