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Lysippos, Farnese Hercules

Lysippos, Farnese Hercules, 4th century B.C.E. (later Roman copy by Glycon)(Archaeological Museum, Naples). Speakers: Dr. Beth Harris & Dr. Steven Zucker. Created by Beth Harris and Steven Zucker.

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  • leaf blue style avatar for user Nye Rhys Potter
    What are the twelve labours and has anyone made a numonic/acronym to memorise them.
    (11 votes)
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    • purple pi purple style avatar for user Residuum
      From http://www.perseus.tufts.edu/Herakles/labors.html

      Labor 1: The Nemean Lion
      Labor 2: The Lernean Hydra
      Labor 3: The Hind of Ceryneia
      Labor 4: The Erymanthean Boar
      Labor 5: The Augean Stables
      Labor 6: The Stymphalian Birds
      Labor 7: The Cretan Bull
      Labor 8: The Horses of Diomedes
      Labor 9: The Belt of Hippolyte
      Labor 10: Geryon's Cattle
      Labor 11: The Apples of the Hesperides
      Labor 12: Cerberus
      This site is a good resource for information on all the labors in detail, and the story of Hercules/Herakles in general. As for an easy way to memorize them, that I'm afraid I can't help you with. Best of luck though.
      (22 votes)
  • male robot johnny style avatar for user giancarlo
    at why are the apples of the Hesperides smaller than usual apples these days?
    (5 votes)
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    • piceratops ultimate style avatar for user Kevin Gøhler
      Traditionally, all fruits and vegetables that we know today, were a lot smaller. Through breeding and selection, we have created new strains of fruit, much larger (and more tasty) than the originals (wildtype). Now we are pretty much at the limit of their size - and if we need to make them bigger, we have to do it by fully understanding and artificially manipulating their genes.
      (10 votes)
  • leaf blue style avatar for user Nye Rhys Potter
    I was reading about ninth labour, The Belt of Hippolyte. Hippolyte was an Amazonian, so named because Amazonian meant one breasted in Greek and the Amazonians cut off one of their breasts to make fighting easier. However, this doesn't explain why the Amazon river is called The Amazon.
    Any ideas?
    (3 votes)
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    • spunky sam red style avatar for user Jason Johnson
      The first European to explore the Amazon, in 1541, was the Spanish soldier Francisco de Orellana, who gave the river its name after reporting pitched battles with tribes of female warriors, whom he likened to the Amazons of Greek mythology. Although the name Amazon is conventionally employed for the entire river, in Peruvian and Brazilian nomenclature it properly is applied only to sections of it. In Peru the upper main stream (fed by numerous tributaries flowing from sources in the Andes) down to the confluence with the Ucayali River is called Marañón, and from there to the Brazilian border it is called Amazonas. In Brazil the name of the river that flows from Peru to its confluence with the Negro River is Solimões; from the Negro out to the Atlantic the river is called Amazonas. Source: http://www.britannica.com/EBchecked/topic/18722/Amazon-River
      (6 votes)
  • piceratops ultimate style avatar for user Ari Niemelä
    There was an legendary wrestler called Milo of Croton who lived in 6th century bc. He held a mace and lion fleece in very similar manner than Heracles did and many myths seems to be very similar. Who was original, was Hercules based on this character, or did Milo take influences with those Hercules myths?
    (3 votes)
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  • piceratops ultimate style avatar for user Ari Mendelson
    Was this piece discovered around the same time and place that the Laocoon was discovered?
    (1 vote)
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  • female robot ada style avatar for user Isjee
    At , Dr. Beth notes that the statue's head is small. I can't see it. Do you have to look at a certain angle or something? Is it only a little smaller?
    (2 votes)
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  • female robot grace style avatar for user sgreco1292
    How did people in Ancient Greece have the time to sculpt these artworks? It was so much harder to get food and shelter back then with all the wars and things, yet they could do this with so much detail. Today, it's hard to find handmade sculptures. People hand off the hard jobs to machines now =D, yet we can just drop by the grocery store to get food and could stop by a hotel or rest in our homes for shelter.
    (1 vote)
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    • leaf green style avatar for user Ronnie Lunn
      It wasn't much different than today. Soldiers were soldiers, farmers were farmers, and artists were artists, it's how they made their living. Especially within Greek society where arts were highly prized. Plus, while working the land may have taken longer than 8 hours a day, you have to remember that there was no TV, no radio, no newspapers, no computers or internet. That frees up a lot of time in your day to undertake other pastimes and hobbies such as art.
      (4 votes)
  • starky sapling style avatar for user isabel:)
    All these sculptures are amazing, but why does people back then have to make their sculptures naked?
    (2 votes)
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  • primosaur ultimate style avatar for user michael levin
    Maybe a little bit off-topic.. Dr Zucker mentioned irony -- was there really a place for irony in art history before contemporary art (postmodernism etc) ? I can't recall any example.
    (1 vote)
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  • leaf green style avatar for user Karmel Pohl
    If this sculpture displays so many characteristics of the Hellenistic period (),why is it only classed in the late classical period? What is the difference between the late classical and Hellenistic period? I understand that this is a transitional period, what features need to fully evolve before the Hellenistic period actually starts?
    (2 votes)
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Video transcript

(jazz music) Dr. Zucker: We're in Naples at the Archaeological Museum, looking at one of the most famous sculptures from all of antiquity. Dr. Harris: It was discovered in the Renaissance during archaeological excavations in Rome of the Baths of Caracalla. Dr. Zucker: This is the so-called Farnese Hercules and it gets that name because it was excavated by the Farnese family. They had been looking for building materials to take from ancient sites to build a new palace, but what they found in the Baths were an extraordinary array of ancient sculptures. Dr. Harris: We can reconstruct the original site for this colossal sculpture. There were mosaic floors, walls made of different colored marble. It was an incredibly luxurious bathing complex, used by thousands of Romans every day and it was decorated with hundreds of sculptures, many of them colossal, like this one. Dr. Zucker: These were really complex structures, these bathing facilities. There were the baths themselves. Some were cold, some were hot. There were rooms for transition from one temperature to another. There were places where one could exercise and this sculpture makes perfect sense in this environment. This is a place where you would go to work out, where you would go to exercise. You could look at this wildly muscular figure and have a bit of a goal. Dr. Harris: Many of the sculptures that were found in the Baths of Caracalla were not the typical, ideal, athletic copies of Greek sculptures that we think of, but they were especially bulky, like the Hercules that we see here. Dr. Zucker: We know that some successful Greek athletes would sometimes dedicate sculptures to Hercules in a way thanking him for their successes. Dr. Harris: He was a symbol of strength and heroism. Dr. Zucker: You can see that here, but there's also irony in Lysippos' treatment, because even as we see this wildly powerful figure, this incredible musculature, we also see a figure that is exhausted. Dr. Harris: He really is. He leans almost his full weight on a club that's propped up under his arm, so you're right, there is an irony between the brute strength of his articulated muscles and the languorousness of his pose. Dr. Zucker: Look at the way in which that abdomen is articulated. Look at the strength of his right shoulder, of his right upper arm. It's really massive. Dr. Harris: He thrusts his right hip out, so that he can fully lean his weight on his left side. Dr. Zucker: There is this marvelous contrapposto, although the legs seem to be somewhat reversed, but I love the way his torso slouches over as he leans and there's this overemphasized turn of that torso. Dr. Harris: But the club doesn't look like a very secure support. Dr. Zucker: No, the whole thing is slightly precarious. Dr. Harris: It seems as if Lysippos and Glycon, who copied Lysippos' sculpture and there are more than 80 copies of sculptures of the weary Hercules that have survived, but it does seem as though he's calling our attention to Hercules' hands and Hercules is famous as a hero who became a god and who these amazing exploits, the 12 labors of Hercules. I'm noticing the open left hand and the way that the right hand is brought behind his back, so we really want to move around the sculpture to see what's in his right hand. Dr. Zucker: That's right. The artist has set us up so that we absolutely want to walk around. The left hand is not original, that's been lost. So what we're seeing is a plaster reconstruction, but the right hand is original and if you walk around the sculpture, you actually see that he's holding the apples that he would have gotten from one of those labors, the labor the apples of the Hesperides. This is all part of the legend of Heracles. Heracles was the original Greek figure and the Romans would call him Hercules. What happened was this brute of a man, in a fit, killed his children. The gods of Mount Olympus punished him by putting this man, Heracles, who was the son of a god and of a human, therefore a hero. They made him subservient to a king and he had to perform whatever deeds this king asked of him for 12 years. This was his punishment. The king asked of him tremendously difficult tasks. The first of which was the killing of the Nemean lion. If you look carefully, just draped over the club, you can see the pelt of that lion that he had slayed. This sculpture is actually referring to two of those labors. Dr. Harris: One of the things that seems a little strange as we look up at him is how small his head is. This is something that Lysippos, the Greek sculptor - Dr. Zucker: The original sculptor - Dr. Harris: That this was based on, was known for, was changing the cannon of proportions that existed during the Classical period in Greece in the fifth century where there was more of a sense of harmony and balance between the parts of the body. Lysippos created a new set of proportions, where the figure was taller, the head was smaller, and they gave the figure a new sense of elegance. Dr. Zucker: Elegance and also of height. Here, it's married, of course, with this increased bulk. The other thing that Lysippos is so well known for, which you mentioned earlier, is the way in which he begins to break out of the more restricted space that Classical figures had generally occupied, so that by extending, for instance, that left hand, by moving that right hand behind his back, he really does invite us to understand this sculpture in the round, as opposed to seeing it as a frontal object. The thing that strikes me most, though, about this sculpture, is the way in which we can understand his feeling of exhaustion and the way that's contrasted against the potential energy and power of that body. Dr. Harris: The things that we're talking about, the new cannon of proportions, the way that we're asked to move around the sculpture, not only do I want to walk behind it to see what's in his right hand, but I also want to walk to the place where he is looking down to, so we can look up at his face and see the expression, the sense of empathy we have for him. These are all things that are typical of the Hellenistic period of ancient Greek art that this copy was based on. Dr. Zucker: Clearly, something that the Romans really appreciated. (jazz music)