Pella and Gadara, two more settlements for Alexander’s veterans

When Alexander returned from Egypt in 331 BC, he marched along the coast of the eastern Mediterranean. How close to the coast may be subject to debate, but the fact remains that he had to send foraging parties into the hinterland. Alexander must have depleted much of the local provisions when he marched his troops through the region the year before, as did the fleet that supported him and his troops on their way to Egypt, especially when crossing the Sinai. This being said, it is very plausible that his foraging parties had to move further inland when he returned. To that purpose, they must have exploited the lands east of the Dead Sea, Jordan River, and the Sea of Galilee, and that is exactly where we find cities like Gerasa, Pella, and Gadara, which are said to be founded by Alexander.

The founding of Gerasa has been treated in an earlier blog (see:  Alexander founder of Gerasa). Some 45 kilometers north of that city lies the town of Pella (previously Pihilum) known to be named in honor of the city where Alexander was born. Pella flourished in Hellenistic times as it became a regional power in the maze of trade routes running through the city. It has been established that Pella was largely populated in Hellenistic times as it was a hub for merchants crossing the region (see: Apamea, heritage of Alexander). Under the rule of Seleucos, the city was renamed Apamea after his wife Apame.

After the death of Alexander, Gerasa and the neighboring territories were annexed by the Ptolemies in 301 BC. At some time during the third and second centuries BC, the Seleucids took hold of the area and undertook a thorough Hellenization till by 64-63 BC, it became a Roman province. The Romans, to properly govern Judea and Syria, created a Decapolis (see: Alexander, founder of Gerasa), a group of ten cities that shared the same language, commercial relations, and political status. Each city enjoyed a certain degree of autonomy with its own Semitic, Nabataean, Aramean, and Jewish culture. The members were according to Pliny:  Damascus (in Syria), Philadelphia (modern Amman in Jordan), Gerasa (now Jerash in Jordan), Scythopolis (now Beisan in the Jordan Valley, North Israel), Gadara (modern Umm Qays in Jordan) and once the capital of this Decapolis, Hippos (on the banks of Lake Tiberias in Israel), Dion (probably near Irbid in Jordan, but not yet discovered), Pella (in the Jordan Valley, northwest of Amman in Jordan), Canatha (now Qanawat in Syria) and Raphana (probably north of Umm Qays in Jordan, but not yet discovered either). As part of the Decapolis, these cities shared the common political, cultural, and commercial interests of the other members and enjoyed their Golden Age that lasted for about 150 years.

The Romans left their usual buildings, like theaters and temples, along familiar colonnaded streets in Apamea. It is hard to imagine in today’s desert-like landscape that these cities were blessed with fertile soil and plenty of water, making them favorite stops on the busy trade routes between Europe and Asia. Let us not forget that besides goods and agricultural skills, Greek culture and language widely spread.

Another 30 kilometers onward, we find the town of Gadara, today’s Umm Qays, near the northern border of Jordan with Israel and Syria in the hills above the Jordan Valley. Since Gadara emerged in the wake of Alexander the Great, as well as Pella and Gerasa, it shares most of its history. It became part of the kingdom of the Seleucids, and we know from Polybius that Antiochus III ruled here in 218 BC and that Gadara was coveted by both the Ptolemies and the Seleucids, who captured and recaptured it time and again, confirming the role it played on the trade routes with the east. The Seleucid kings renamed the city Antiochia or Antiochia Semiramis and even another Seleucia, as they turned the city into a center of Greek culture.

Gadara boomed under the Romans after Pompey conquered it in 63 BC. At that time, the reputation of the local poet Meleagros (131-61 BC) had already spread far and wide. He was a much-admired Hellenistic author who wrote an anthology of other poets – a true statement of the city’s high cultural level. Gadara certainly deserved its surname of “Athens of the East” when in the 2^nd and 3^rd centuries AD it became a center for philosophy, literature, and theater.

The ruins of Gadara are far less impressive than those of Gerasa, mainly since most of the city still lies underneath the old Ottoman village from the 18^th-19^th century that has been vacated in recent decades. The spooky streets and buildings are hiding the Roman living quarters. This settlement leans closely to the crumbling walls and has inherited its medieval name of Umm Qays. 

The very top of the hill has been carefully excavated and exposes many of the official buildings. It is always a delight to enter an ancient city over the Cardo, which here is paved with large blocks of black basalt. The Roman Theater on the right almost immediately calls for attention. It is entirely built of black basalt as well and offers seating for 3,000 people. This is generally called the West Theater, as there are remains of another theater on the north side of town, which has largely been dismantled by the locals and recycled for their own contemporary constructions, leaving an overgrown field. Unlike the usual eastern-oriented theaters, this theater is looking to the west so that the theater-goers would be sheltered from the strong eastern wind! The remains date generally from the first and second centuries AD and are overall in good condition. From the top tiers, one has a most wonderful view over this biblical land on the eastern bank of the Jordan River, where the Golan Heights and the Sea of Galilee shimmer on the horizon.

Back on the Cardo, one notices several vaulted spaces underneath the skene where once shops were set up. Even in antiquity, theater-goers could be tempted by food and drinks or other entertainment commodities!

Then the Cardo reaches the Decumanus, which has been well cleared and runs on for at least two kilometers to the west. Its black basalt pavement stands in sharp contrast with the white Corinthian limestone columns that separate the road from the sidewalk lined with shops of all kinds. The deep ruts in the pavement testify to the heavy traffic of carts with goods that were transported along the edge of this high plateau to nearby cities like Pella. In its heyday, this road ran all the way to the Mediterranean coast. Halfway there is an unknown sanctuary and a Nymphaeum next to still overgrown public baths from the 4^th century.

Turning back, one encounters another large and very impressive Nymphaeum set in the same black-and-white stone combination as found on the Decumanus. To the right is an area called the Terrace Church, dating from the 6^th century. This is a strange mixture of all kinds of Roman remains from the 2^nd century, enhanced with columns from Byzantine and early Islamic times. It is not easy to figure out the pattern and discover a central square framing an octagonal space. Each corner of this octagon is marked by a black basalt column, and it is believed to have been an unusual inner sanctum. On the west side, there is a large entrance hall, and on the north side, another open space that looks like an atrium. This may have been a pilgrimage site for some important martyr, although no hard proof has been found so far. Like so many buildings in Gadara, this church was destroyed by the severe earthquake of 747 AD, after which the city was abandoned.

The Decumanus loses itself further east past well-preserved city walls embracing the skeleton remains of the Ottoman houses and their crumbling walls. There must be a hippodrome and a stadium out there somewhere, as well as an aqueduct, but apparently, not much has been exposed.

It is nearly impossible to look at Gadara or Gerasa beyond the Roman influence, for these cities originally did not have any Greek roots. Since they were founded by Alexander, they should be seen as a pure Macedonian concept. It is here that the first seeds of later Hellenism were planted, and this makes me wonder how much of the Macedonian influence went into the Alexandrias founded later on during Alexander’s campaigns.

Alexander, founder of Gerasa

Gerasa, known today as Jerash in Jordan, rises in the broad and fertile valley of the Chrysorrhoas River. It is said that Alexander the Great founded a Greek colony on this spot in 331 BC, although there have been previous occupations on and off, as far back as 3,000 BC.

Very little is mentioned about Alexander's visit to Gerasa by ancient historians. Only Curtius vaguely points in this direction when he tells us that the Samaritans rose up and burned Andromache, the Greek governor of Syria, alive. This happened while Alexander was in Egypt, and based on Eusebius' Chronicles, he set out immediately with Perdiccas to raze Gerasa and Samaria. Alexander avenged this murder, executed all who had slain his general, and appointed a new governor, Menon. The inhabitants were slaughtered and enslaved, after which he resettled the site with Macedonians. He must have saved much of the city after all, and not really razed it as Eusebius leads us to believe.

After the death of Alexander, Gerasa and the neighboring territories were annexed by the Ptolemies in 301 BC. During the third and second centuries BC, the Seleucids took hold of the area. They undertook a thorough Hellenization, contributing largely to developing Gerasa into a busy urban center. Antiochus III renamed the city Antiochia-on-the-Chrysorrhoas or Antiochia of the Gerasenes, and by 64-63 BC, it became a Roman province.

To properly govern Judea and Syria, situated on the eastern frontier of their empire, the Romans created a Decapolis, a group of ten cities that shared the same language, commercial relations, and political status. Each city enjoyed a certain degree of autonomy with its own Semitic, Nabataean, Aramean, and Jewish culture. We owe it to Pliny for reporting the complete list of the member cities:

Damascus (in Syria)

Philadelphia (modern Amman in Jordan)

Gerasa (now Jerash in Jordan)

Scythopolis (now Beisan in the Jordan Valley, North Israel)

Gadara (modern Umm Qays in Jordan) and once the capital of this Decapolis

Hippos (on the banks of Lake Tiberias in Israel)

Dion (probably near Irbid in Jordan, but not yet discovered)

Pella (in the Jordan Valley, northwest of Amman in Jordan)

Canatha (now Qanawat in Syria) and

Raphana (probably north of Umm Qays in Jordan, but not yet discovered either).

In 106, Emperor Trajan added the rich lands of the Nabataeans to the province of Arabia, and in the years 112-114, a new caravan route was laid out in the tracks of the 5,000-year-old existing one. This Via Nova Triana connected Syria to Aqaba, and today's main road from Amman to Aqaba still follows the same route as the King's Highway. Business with the Nabataeans flourished as they guarded the vital trade route through Petra. Consequently, Gerasa grew – also thanks to the city's fertile agricultural lands and the minerals dug in nearby Ajloun. Today's remains of Gerasa date back to those prosperous days, i.e., the 2nd/3rd century, when the city counted 20,000 inhabitants living mainly on the east side, which is still hidden underneath modern Jerash. Gerasa was one of the most thriving cities in Palestine.

By the end of the 3rd century, however, most of the trade went overseas, and the role of Gerasa became superfluous. Emperor Constantine introduced Christianity, which was widespread by the fifth century, as is proven by the many churches built here: 13 churches in 400-600 AD alone. The earthquake of 747 severely damaged the city, and the population decreased to about 4,000. Gerasa had become no more than a small village by the time it was incorporated into the Islamic world. Slowly, this once so proud city entirely disappeared under layers of sand till it was rediscovered in the 19th century.

This summarizes my historical baggage when I'm about to visit old Gerasa, with its fascinating round Forum that is advertised in every single tourist's brochure.

I'm happy to enter the city through (in reality, next to) the Arch of Hadrian, who honored Gerasa with a visit in the year 129. The world traveler, Hadrian! There is hardly any city that his emperor has not visited, and curiously enough, every single one of them built an Arch in loving memory. The monumental arch of Gerasa is in excellent condition, and small restorations are not prominent. As is customary, it counts three gates, and the middle passage is at least eleven meters high. Both facades are practically identical and richly decorated with acanthus leaves. The now-empty niches initially held statues, of course. Strangely enough, this arch stands about half a kilometer away, outside the city walls. At its construction, Gerasa had plans for expansion and building new walls – plans that never materialized.

The modern asphalted road runs more or less on top of the Chrysorrhoas River that divided Gerasa into two, and the Roman ruins of all the official buildings occupy the left (west) side. A modern paved road squeezes between this asphalted road and the impressive remains of the Roman Hippodrome, leading to the modern entrance gate. I walk the entire length of the Hippodrome (260 meters), where pseudo-Romans are now in full action with their horse races. The east side of the Hippodrome is best preserved with a complex system of vaults that was supposed to carry the weight of the 16 or 17 rows of seating above. I stop a moment to take a close look at the impressive length of the field, trying to picture how, in the third century, as many as 15,000 people filled the tiers.

Once inside the old city walls, I almost immediately stand in the middle of the Great Oval Forum, bordered by high Ionic columns, the iconic image of Gerasa. It's not only the oval shape that captures the attention, but also the size of this entirely paved piazza, which is no less than 90 meters long! Behind the columns runs a two-meter-wide sidewalk. I stand here in awe for quite a while, trying to realize that I am really here and not staring at a picture of some kind. I could have spent much more time in this wondrous, unique spot. Although this space is generally referred to as a forum, archaeologists need to figure out the actual function of this space. The significance of the two square podiums in the middle still needs to be determined since they could have served as an altar or simply as a base for some statues. Underneath the Forum, the remains of a drainage system have been discovered – how ingenious!

Over my left shoulder lies the large Roman Theater, and ahead of me runs the Cardo, the north-south axis along the river. My view over the straight road stops at the first Tetrapylon that marks the crossing with the southern Decumanus. A second Tetrapylon stands further down the Cardo where the northern Decumanus crosses, and beyond that, approximately 800 meters further, I can see the Northern City Gate. Almost the entire length of the Cardo is framed with slender Corinthian columns behind which the sidewalk, probably once covered, leads to the entrance of the many temples of the Forum. Still, when the Cardo was enlarged in the second century, it was decided to replace the Ionian capitals with Corinthian ones – a matter of fashion, probably.

I start my walk over the Cardo and turn left into the southern Decumanus, sensitive as always to the fact that I am treading over two thousand years old pavements. Standing at the crossing where the Tetrapylon once stood as a crown jewel is another of those impressions you cannot easily forget. To my right, the road disappears under modern Jerash, but I'm intrigued by what I'll find on the left-hand side.

The most impressive building here is the Temple of Artemis. Still, it takes a while to figure out the layout among the walls and stairs that also belong to later Byzantine and Umayyad additions. Many churches have been built, and there was even a cathedral with a shrine dedicated to the Virgin Mary. Since the Temple of Artemis was set on top of a hill, I had to cross many corridors, jump many ditches, and climb many stairs to get there. As always, the choice of the location is sublime, for the Temple commanded the view and was the most important building of Gerasa. Considering the enormous dimensions (the Temple occupies a surface of 34,000 square meters) and the grand setup of the different parts, this does not come as a surprise. It was built during the second century when the whole city underwent a facelift.

To be correct, I should have approached the temple complex from the east, where the Via Sacra, on the other side of the Cardo, starts at a central court surrounded by columns (later holding a Byzantine church) to join the Cardo flanked by two fountains. On the opposite side of the street lies a 120-meter-long portico with four massive columns, crowned with richly decorated architraves, the Propylaea. This part was lushly decorated, and the two still-existing side gates are proof of that. Several shops were spread over two levels to the left and to the right. After entering the Propylaea, I must climb wide stairs interrupted by broad terraces that provide rewarding views over the complex and the city. In the middle of the first terrace, I find the foundation of a large U-shaped altar according to Eastern traditions. An earlier Temple of Artemis may have stood here.

A second flight of stairs leads to the terrace atop the hill. Access to the central court of 161 x 121 meters was through one of the surrounding porticos. The Temple proper was framed by Corinthian columns, six on the short and eleven on the long sides. A broad set of stairs leads to the cella, the heart of the Temple. The inside walls were covered with marble, and in the back stood the statue of the goddess guarding the Temple's treasury. Two more sets of stairs led to the supposedly flat roof where, according to Eastern traditions, some rituals were carried out. It is a strange combination of Hellenistic and Roman construction elements, but this certainly is one of the largest and most impressive temples I've ever seen – more so than Didyma, for instance, which kept me in awe.

Loose blocks of columns, capitals, and architrave have been reused over the centuries to construct surrounding churches and buildings. From the fourth century onward, sections of the crepidoma were reused and reworked in the surrounding workshops. So it is no surprise to discover a huge saw in the depths next to the Temple. Big stone blocks and marble slabs could be sawn into small plates to build and decorate new constructions. This machine is a reconstruction with a wooden water wheel activated by a nearby source, i.e., the power to bring the four saws in motion. Quite an unexpected surprise!

It is while walking back down to the Cardo that I fully understand how impressive and unique the location of this Temple of Artemis must have been. Because I approached the Temple from the side instead of the Via Sacra, my first impression was entirely different. It's only now that I walk over the various terraces, surrounded or not by colonnades, to end on the staircase running over the entire width of the complex. This is how the pilgrim must have looked up the steep stairs and felt pretty small. The view from the Propylaea towards the Cardo is beautifully framed, and although I now stare at modern Jerash, it does give an excellent picture of what once was. Back on the street, I turn around for a last glimpse, but I can't even see the very Temple from here. It definitely shows an unsurpassed grandeur, one of those absolutely unique settings. My thoughts go back to Pliny and Meleagros, who compared Gadara (Umm Qays) with Athens, but I wonder what they had to say about Gerasa. As far as I'm concerned, the only comparison I can make is with the Acropolis in Athens, where you approach the Parthenon after climbing the stairs of the Propylaea in the same way.

Having reached the end of the city at what looks like an arch or a gate, I discover that I have arrived at the Northern Tetrapylon and that the Cardo still runs onwards to the northern city Gate. The land on either side has yet to be excavated and is currently used as grazing grounds for the goats.

I turn left to follow the northern Decumanus to the Small Theatre, which was probably conceived as an Odeon. It looks pretty good, but upon closer examination, it has been thoroughly restored. From the top row of seats, I can see as far as the Oval Forum, the Hippodrome, and the Arch of Hadrian – a gratifying view in the floodlights of the late evening sun. I climb down and walk behind the large Temple of Artemis, where I find a beautiful mosaic floor that once belonged to a Byzantine Basilica, behind a row of six particular churches that filled the back garden of the Temple of Artemis. From this spot, I once again enjoy a breathtaking view over Gerasa now that the colonnades and streets catch the last sunrays, particularly the fascinating circle of the Forum. There must be around 230 columns still standing! What a city! What an eye-catcher!

Retracing my steps to the long Cardo, I pass by one of the several Nymphaeums spread throughout the city. This fountain from the 2nd century is not exceptionally big but very gracious. The colonnade alongside the Cardo has been interrupted here for the 22-meter-wide entrance. Initially, this fountain was covered with slabs of colored marble, and the niches held several statues. It must have been a dazzling work of art that we can hardly imagine.

The large southern theatre is much better preserved than its smaller brother at the other end of the city, meaning that much more of the original stones have survived. Its construction started during the reign of Emperor Domitian, between 81 and 96 AD, and was financed by the people of Gerasa. It has been revealed that a certain Titus Flavius spent the sum of 3,000 drachmes for one single row of seats! The theater still boasts 4,000 seats, with a podium and the two-story paraskenia in near-perfect condition. The four times three niches just underneath the stage's border are also well-preserved. I always feel very privileged to walk up and down a theater and through its vaulted corridors, whether leading to the podium or running behind the seating area used by the theater-goers. Still today, people use these corridors, treading in the same footsteps as those from ancient times.

I walk back past the poor remains of the large Temple of Zeus. It is said that the oldest part of Gerasa lies underneath this sanctuary, maybe even the original Macedonian settlement. It would be inspiring to have confirmation of this theory one day. This Temple of Zeus, however, is pure East-Roman since it was consecrated in 162-163 during the reign of Antoninus Pius. The general plan is hard to recognize, were it not for the proud Corinthian columns. According to an inscription, a certain Theon would have paid considerable money for the Temple's construction and the bronze statue it once sheltered. The name of the architect of the first temple terrace has also been found, an inhabitant of Gerasa called Diodorus, who financed this monument during the years 27 and 28 AD. Information like this brings the stones to life, isn't it?

On this wintry day, the sun sets shortly after 4 pm, and it becomes difficult to take any more pictures, but this is when nature turns quiet and the spirits of past times come alive, isn't it?

The Immortal Alexander the Great. The Hermitage Museum in Amsterdam.

Just brace yourself, for the treasures from this exhibition will leave an everlasting impression on the visitor’s poor soul! In a way, the many artifacts are meant to convince the public that Alexander is indeed “immortal” if ever such a need existed. In my eyes and in the eyes of his many admirers over the centuries, this statement is redundant. Throughout history, the adulation of Alexander has regularly made the headlines. 

We all know how the Roman Emperors admired him, starting with Caesar, who allegedly was deeply moved when he visited Alexander’s Tomb in Alexandria. But even less valorous Emperors like Caligula and Caracalla liked to dress up like him, posing with his shield and helmet. During the Middle Ages, we saw the evolution of the Alexander Romance, a collection of the most fantastic stories based on actual facts. The Persians revived him as Iskander the Two-Horned with colorful miniatures in their delicate manuscripts. Closer to home, we find rulers like Catherine the Great of Russia and Louis XIV of France, who envied his name and achievements, and we owe them a true Alexander cult that erupted all over Europe.

In today’s world, we take a more analytical point of view when we look at Alexander’s life and heritage, where our critical eye leaves nearly no room for imagination or even appreciation. However, the outcome remains unchanged, for Alexander left an everlasting imprint on the lands and the peoples he conquered. He cannot have done this on purpose, for how could he have foreseen how deeply Hellenism would revolutionize the world then and now? Traces of his Hellenism may not be so evident, but they are still very much present in our daily lives. Look closer at our churches, cathedrals, villas, museums, palaces, etc. Often, their facades are embellished with Greek columns and pediments enhanced with Greek figures in their decorations. How many sculptors, jewelers, and potters from Europe to China to America have copied Hellenistic statues, jewels, and vases? How deeply have these influences touched our daily lives, time and again?

Useless to mention that my expectations are running high when I rush through the entrance gate of the Hermitage Museum as the very first visitor of the day. The Museum is in an old 17th-century building with a thoroughly modernized interior. The layout is well thought out with the latest technologies, and the friendly personnel are a pleasant bonus.

The exhibition starts on the first floor with The Myth of Alexander the Great, illustrated by 17th-century paintings of Alexander. I could have done without them, for the Alexander who is portrayed here gives, in my eyes, an exaggerated and deformed image. We find Pietro Antonio Rotari ‘s work of Alexander and Roxane; Sebastiano Ricci depicting Alexander’s court-painter Apelles while he is painting Campaspe; and Charles Le Brun, an excellent artist, no doubt, who knew how to please Louis XIV. But none of this meets my personal vision of Alexander, although the paintings themselves are excellent. On the opposite wall, we can admire panels by Antoine Marie Melotte (from nearby Liège in Belgium), who has translated Le Brun’s painting into wood carvings, and at the far end of this room, a magnificent tapestry made in Brussels (1661-1695) representing Alexander with the Family of King Darius. But my heart skips a few beats when I reach the Hellenistic and Roman statues in the second half of this room.

This section is about Alexander’s Reality. It starts with the world in which Alexander grew up in Macedonia, amidst his godly forefathers and mythical heroes. The eye-catchers are two huge statues, evidently Roman copies of Greek originals, one representing Heracles with the apples (2nd century) and the other Dionysus/Bacchus (2nd century, after an original from the 4th-3rd century BC). I prefer the smaller Herakles killing a Nemean lion (2nd-3rd century AD) in full action with tense muscles; very realistic. Next to it stands a relatively complete marble statue of young Eros ready to shoot his arrow from his drawn bow. This is a Roman copy, just like the identical statue I know from the Louvre in Paris. Nice to meet his brother here! At the far end, I met up with two names familiar to Alexander, Aeschines depicted on a marble medallion from 150 AD, and the head of Demosthenes, a Roman copy of 100-125 AD from a Greek original by Polyeuktes.

The showcases are filled with weapons and armament, a 16th-century steel breastplate covered with bone scales and lion masks, a pattern that goes back to antiquity. In contrast, there is a substantial Greek breastplate with a frightening-looking Medusa in its center, dating back to the 5th-4th century BC and found in the northern area of the Black Sea – something Alexander must have known.

The set would not be complete without a collection of Greek vases, mainly with a black background like the hydria from about 500 BC showing Achilles and Polyxena, or the volute-krater carrying a picture of offerings, dating from 340-330 BC, found in Apulia (Southern Italy). The heroic figure of Achilles occupies a central place in Alexander’s life and in the decoration of the various vases, so again on another black-figured hydria from Attica (510 BC), where Achilles is bending over the body of Hector – a very famous scene.

The central part of this section covers Alexander’s Journey, a word that apparently prevails over the appellation “conquests.” Visitors can follow the road of Alexander's entire expedition on the computer with interactive maps. Still, the images move too fast if you ask me, and I wonder if anyone who looks at Alexander’s route for the first time can follow his progress and realize his impact. I have my doubts.

Luckily, the exhibition continues chronologically, starting with Alexander’s crossing into Asia (today’s Turkey), his progress through Syria to Egypt, and from there to Persia and Babylonia, to reach Bactria (the northeastern part of today’s Afghanistan), and finally even India. Not only do we see what Alexander must have seen, but more so the imprints of what he left behind, i.e., the Greek influence on local art and the local way of life. It goes without saying that I have never seen most of these artifacts, not even in pictures, for they never or seldom leave the Hermitage in St Petersburg. I even wonder whether the tourists in St Petersburg will see all of this, for the Hermitage Palace is far too big and the visits, from what I have heard, are far too short.

Anyway, there are several striking pieces I want to highlight here. First, there is a small marble head of Alexander from the 1st century, evidently a Roman copy of a Greek original (most certainly by Lysippos). Although somewhat damaged, it is still very similar. Then, a portrait study of one of the Ptolemies from Egypt (3rd-1st century BC), illustrating the impact of Alexander’s general Ptolemy and his offspring on Egypt. There is also an impressive collection of cameos made of sardonyx. I particularly remember the one portraying Alexander hunting boar from the 1st century AD (from Italy), the one of Alexander-Helios, son of Cleopatra VII and Marc Anthony, depicted as Horus-Harpocrates from the 1st century BC (from Egypt); the twin portraits of Ptolemy II Philadelphos and Arsinoe II from the 3rd century BC, i.e., the so-called Gonzaga cameo (from Alexandria); the Triumph of Dionysos from the 1st century BC (also from Alexandria) and an excellent Zeus with brown curly hair from the 3rd century BC (again from Alexandria). Pictures of these precious pieces can be found under the Dutch tab Beeldmateriaal van de Hermitage (not available in English, unfortunately).

More thrilling items are luring from all sides! In the Egyptian showcase, and as a matter of course, I come across Cleopatra VII of Egypt, a delicate basalt statue from 51-30 BC with clear Hellenistic elements. This is the Cleopatra we all know as Queen of Egypt, although she unmistakably has Macedonian blood from the first Ptolemy running through her veins. New to me is to hear that besides Caesarion, her son with Caesar, she had three more children, this time with Marc Anthony: a son, Alexander-Helios (see above), and twins, a girl and a boy. After Cleopatra’s death, the children were raised by the sister of Octavian, the imperial victor, after which they entirely disappeared from history. I was unaware of this part of her life; I learned something new today. I’m also quite surprised by the bronze head of a “Hellenistic ruler with helmet” that looks Egyptian but is not. It probably originates from the Eastern Mediterranean and should belong to the 2nd-1st century BC. 

Then unexpectedly, I am walking among life-size heads, Roman copies, of course, like the marble bust of Achilles that somehow reminds me of Alexander and is copied from an original from 170-160 BC, and the head of Meleagros, also from a Greek original from 350-340 BC. Striking and obviously, Hellenistic is the marble head of Mithridates VI Eupator from Pergamon, dated 90-80 BC. The relief fragment from Iran also demands some attention: it represents a royal guard from about 500 BC belonging either to Xerxes or Darius. Lovely to see this at eye level.

Scattered among these statues and statuettes, I’m enchanted to find a collection of coins from all corners of Alexander’s Empire. First, there are coins of Alexander himself with ram’s horns, lion head, or elephant skin, and of Alexander’s successors in similar attire. The gold stater with Alexander from Macedonia is an inevitable eye-catcher, and the Bactrian coin where the ruler wears a kind of sun helmet looks very familiar too. Initially, only gods and goddesses were depicted on these coins, and I noticed a remarkable silver one with the profile of Zeus, whose hair is made of oak leaves. Take a good, close look, for this is really something unique.

Nike, the goddess of Victory, was also very popular, not only on coins (there is a wonderful golden one on display here) but also in jewelry like the golden-winged earrings from the mid-4th century BC, in a typical Greek representation, which is believed to be a reduced copy from a monumental statue. Most charming are the earrings set with a dove pendant sitting on a small swing that must go back and forth with each move of the wearer’s head. The dove is dressed in colored glass and hessonite (cinnamon-colored quartz). This jewel was made in Alexandria in the 2nd century BC. 

Athena is also present, of course, and the seal ring of Athena Nikeforos really deserves some attention. This ring is pure Greek from the 4th century BC and was found in the Northern Black Sea region. Such craftsmanship in those days! While talking about gold, I’d like to mention a few rare items. There is, for instance, a remarkably well-preserved golden bowl with handles in the shape of animals from Persia dating from the 5th-4th century BC; a golden quiver (gorytos) with action scenes from the life of Achilles from the Northern Black Sea area dated 350-325 BC; and finally the many golden Greek olive crowns from the same region, mid-4th century BC – there must have been lots of them for they keep turning up so often in so many different sites. And finally, a gorgeous golden choker from East Iran, dated 5^th-3^rd century BC.

Finally, there are miscellaneous objects, among which are striking bronze and silver bowls and beakers. I admire an excellent silver drinking cup (kylix) with Helios's figure in his carriage at the bottom and a bronze Hellenistic head used as a decorative element on a chariot - both from the 3^rd century BC. Here, I come face to face with the silver-gilded Phaleras, larger than I imagined them, showing scenes of fighting elephants in a straightforward mixture of Greek and Asiatic elements, dated 3^rd-2^nd century BC, and found in East Iran. All in all, too much to make a complete list, but they deserve our attention. I can’t get enough of it, of course!

The exhibition now continues on the second floor. This part is only about Alexander’s Legacy, but I have to admit I expected more convincing material. A few papyri were written in Greek to prove that this language was still used after the Arabs conquered the Middle East. From here, it is only a short step to the Middle-Age concoction of the Alexander Romance and the miniature illustrations of Iskander in the Persian literature of the 15th and 16th centuries. I’m not too impressed with these exhibits, for they are far from Alexander's “Greek” image.

Last but not least, we reach the pomp and circumstance of the Russian Court, which I think is exaggerated like the Alexander statue cut at the end of the 18th century from walrus bones – a meager figure on horseback. A more rewarding result has been achieved with the vast bronze clock from the end of the 19th century, where Alexander is (very idealistically) depicted while reading. The story goes that Alexander wanted to avoid falling asleep at any cost, so he held an iron ball in one hand. If his attention lapsed or he was about to fall asleep, the ball would slip from his hand and fall into the bowl underneath with a loud rattle. He would be sure to resume his reading after that. A charming tale, but we are looking at an elegant, attractive, and handsome Alexander. Pictures and photographs show only his face, which is a pity, for I’m taken by his entire posture, delicate sandals, and elegant chair with his weapons leaning against it – not to mention the fine relief that runs all around the base of the clock.

To prove that Alexander the Great is still a topical figure in our times, there is a reference to the movie Oliver Stone made in 2004. And I say “luckily” because the film has been rejected by many audiences and historians. These critics, in my mind, do him wrong and are definitely without foundation. The old movie with Richard Burton never got such criticism, far from it, and that movie is absolutely horrible to watch.

Well, that’s it. In the wide corridor on the way downstairs, you can stop at four monumental pictures by Erwin Olaf, who made a photographic interpretation of Alexander. This man, at least, understood what was expected of him when he was asked to combine objects from this exhibition with life figures. This is great art, and it pays off to take a moment to watch these superb creations. For your information, one of his photos is shown on the billboards for this exhibition. Had he lived, Alexander would undoubtedly have been flattered!

In short, this exhibition does credit to its name: The Immortal Alexander the Great. Alexander has defied the centuries, and 2,300 years after his death, he still lives on in our imagination. If that does not mean being “immortal,” what does?