Hephaistion in the mosaic?

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Fiona
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Hephaistion in the mosaic?

Post by Fiona »

This is my theory, that as far as I know hasn’t been suggested before, but I am totally convinced now that one of the figures in the mosaic is Hephaistion. Get hold of the best copy of the picture that you’ve got, and take a look at the figure just ahead of Alexander. All you can see is his helmet, and the white plume on it. That’s him, I’m sure of it, and here are my reasons.
If you look at the composition of the whole mosaic as a work of art, that figure has to balance the paired figures of Darius and his charioteer. The figure is paired with Alexander, and you can tell by the angle of his head that he’s looking back, at Alexander.
Who more likely to be paired with Alexander than Hephaistion? And who more likely than Hephaistion to be looking at Alexander rather than the battle.
The white plume shows he is a senior officer. ( And it’s interesting that OS gave Hephaistion a white plume.)
Also, he is slightly ahead of Alexander, and who else would be permitted to be portrayed as even slightly in the lead, ahead of him?
Andrew Stuart, in his ‘Faces of Power’ tells us that the orginal painting was probably painted in Alexander’s lifetime, and very likely soon after the battle. If this is right, then maybe Alexander commissioned it, and had it done for Cassander and the other people back in Macedon – a kind of ‘report from the front’, telling the people at home the news of the latest victory. (Pliny only tells us that it was made for King Cassander – it might have been made before Cassander was a king, and the ‘for’ could mean commissioned by Alexander for Cassander, not commissioned by Cassander)
At any rate, it was made at a time when Alexander would either have approved it or been likely to see it, and the artist wouldn’t have painted someone ‘ahead’ of Alexander, unless that someone was a person that Alexander would be pleased to see in that position.
All this is pure speculation, of course, and there may even be an element of wishful thinking, but when I was looking at the mosaic, it struck me very forcibly that this figure was Hephaistion. It felt right.
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Re: Hephaistion in the mosaic?

Post by amyntoros »

Fiona wrote:Andrew Stuart, in his ‘Faces of Power’ tells us that the orginal painting was probably painted in Alexander’s lifetime, and very likely soon after the battle. If this is right, then maybe Alexander commissioned it, and had it done for Cassander and the other people back in Macedon – a kind of ‘report from the front’, telling the people at home the news of the latest victory. (Pliny only tells us that it was made for King Cassander – it might have been made before Cassander was a king, and the ‘for’ could mean commissioned by Alexander for Cassander, not commissioned by Cassander)
Although Andrew Stewart does propose that the painting was made during Alexander's lifetime (and even suggests that this is the portrait that caused Cassander such anxiety after his disastrous trip to Babylon) he never suggests that the painting was commissed by Alexander. And why would Alexander commission a painting for Cassander? It isn't as if Cassander had any great significance during Alexander's lifetime and there isn't any evidence that Alexander even liked the man. If Alexander had commissioned the painting himself for the people back in Macedon then surely it would have been made for Antipater? Or even Olympias?

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Post by agesilaos »

Considering it was made for King Kassander I would suggest that the figure ahead of Alexander would be Philotas and everyone would understand why he should be looking over his shoulder at the King!
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Post by Sandra »

agesilaos wrote:Considering it was made for King Kassander I would suggest that the figure ahead of Alexander would be Philotas and everyone would understand why he should be looking over his shoulder at the King!
Why Philotas?
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Re: Hephaistion in the mosaic?

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amyntoros wrote:
Although Andrew Stewart does propose that the painting was made during Alexander's lifetime (and even suggests that this is the portrait that caused Cassander such anxiety after his disastrous trip to Babylon) he never suggests that the painting was commissed by Alexander. And why would Alexander commission a painting for Cassander? It isn't as if Cassander had any great significance during Alexander's lifetime and there isn't any evidence that Alexander even liked the man. If Alexander had commissioned the painting himself for the people back in Macedon then surely it would have been made for Antipater? Or even Olympias?

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Oh, absolutely - the suggestion that it might have been commissioned by Alexander is just mine, I'm sorry that I didn't make that clearer. It struck me that Pliny's 'for Cassander' could be read in two ways.
As to why Alexander would commission a painting for Cassander, rather than Antipater or Olympias, I think that's just coming from Pliny's perspective. He's saying that because Cassander ended up being king and would stand out as the more significant person. I think Alexander - if it was he who commissioned it - would have been thinking more generally of those back home, whereas Pliny, writing later, pinned it down to Cassander.
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Post by Fiona »

agesilaos wrote:Considering it was made for King Kassander I would suggest that the figure ahead of Alexander would be Philotas and everyone would understand why he should be looking over his shoulder at the King!
Nice one! :)
It's a shame we can't see the face - the expression would tell us a lot.
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Post by agesilaos »

And Philotas was overall commander of the Companion cavalry so he should be there
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No, I don't think so...

Post by jan »

Hi Fiona, first, thanks for answering my question that I have posted to your trip to Italy post. I found one of my questions answered in this post. Second, no, I do not think that it is Hephaestion, nor Philotas either. But since you were so close to the mosaic, how did it look when you saw it? Were you able to see that it is a helmet with a plume, because from my vantage point in looking at it, it looks as though it could a part of the missing pieces...but I am wondering as you have aroused my curiosity.

Your point is well taken that nobody should have been portrayed as being ahead of Alexander, so it may be a matter of perspective anyway. From just the version of the mosaic as it appears in your slideshow, it looks as though it may be a series of missing pieces...as the plumelike appearance descends too long to look like a genuine plume to me. I will have to study the mosaic at home now as I am at the library looking only at your slideshow photo, and I am wondering all the same.

If it is truly a human figure, I will then conjecture as to who it could be...the battle was Issus and most likely a very senior officer would be my best choice to guess right now. But I will study the mosaic again, and suggest that at that time in the military, Hephaestion would not have attained the rank for that position.
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Re: No, I don't think so...

Post by marcus »

jan wrote:If it is truly a human figure, I will then conjecture as to who it could be...the battle was Issus and most likely a very senior officer would be my best choice to guess right now. But I will study the mosaic again, and suggest that at that time in the military, Hephaestion would not have attained the rank for that position.
Hi Jan (et al),

I'd be inclined to suggest not worrying too much whether Hephaestion had "attained the rank" sufficient to be that close to Alexander. Similarly, Fiona's original point about anyone being "permitted" to be shown ahead of Alexander. After all, this was a work of art -
  • - First, they might have put someone ahead of Alexander for compositional reasons - it helps to make him a focal point if they have someone ahead of him looking back.
    - Second, if they want to show Hephaestion as being a special person in Alexander's life, then putting him next to Alexander on the battlefield is a good way to do it, irrespective of whether he would really have been in such proximity to Alexander in the battle.
Third, and this has nothing to do with composition ... but I don't see why someone shouldn't be shown in front of Alexander. Once the wedge of Companions had made its initial impact with the Persians, it was bound to lose formation to some extent, and therefore it's easy to understand how one of the other Companions might have overtaken Alexander - not least because every Persian would be trying to get to him (Alexander, that is), so there would the largest concentration of enemy soldiers hacking away at Alexander.

Anyway, I haven't made up my mind whether I think it's Hephaestion, Philotas, or any other Macedonian ... but I certainly don't think we should worry too much about historical veracity in a piece of art such as this.

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Post by Sandra »

Just for fun- some pics form my trip to Napoli- with mosaic and modern day representation (although not very good pic). I would suggest to look at this reconstruction...
http://s202.photobucket.com/albums/aa13/sise5/Napoli/
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Re: No, I don't think so...

Post by Fiona »

jan wrote:Hi Fiona, first, thanks for answering my question that I have posted to your trip to Italy post. I found one of my questions answered in this post. Second, no, I do not think that it is Hephaestion, nor Philotas either. But since you were so close to the mosaic, how did it look when you saw it? Were you able to see that it is a helmet with a plume, because from my vantage point in looking at it, it looks as though it could a part of the missing pieces...but I am wondering as you have aroused my curiosity.
Hi again Jan, yes, my impression was very much that it was a plume, it seemed clearer than it does on photos, I think that's why it struck me. The angle of the head seemed clearer, too - definitely looking backwards.
jan wrote: Your point is well taken that nobody should have been portrayed as being ahead of Alexander, so it may be a matter of perspective anyway. From just the version of the mosaic as it appears in your slideshow, it looks as though it may be a series of missing pieces...as the plumelike appearance descends too long to look like a genuine plume to me. I will have to study the mosaic at home now as I am at the library looking only at your slideshow photo, and I am wondering all the same.

If it is truly a human figure, I will then conjecture as to who it could be...the battle was Issus and most likely a very senior officer would be my best choice to guess right now. But I will study the mosaic again, and suggest that at that time in the military, Hephaestion would not have attained the rank for that position.
Well, Diodorus has Hephaistion commanding the bodyguards (which I take to mean the seven) at Gaugamela, so I don't think it's too much of a stretch to think he might already have held this rank at Issus.
Diodorus wrote: Of the most prominent group of commanders, Hephaestion was wounded with a spear thrust in the arm; he had commanded the bodyguards.
In any case, it that was the kind of role he'd been playing in battle, then he'd be near Alexander - and keeping an eye on him, too!
But I agree, a senior officer, the plume - if it is a plume - would seem to indicate that.
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Re: No, I don't think so...

Post by Fiona »

marcus wrote: I'd be inclined to suggest not worrying too much whether Hephaestion had "attained the rank" sufficient to be that close to Alexander. Similarly, Fiona's original point about anyone being "permitted" to be shown ahead of Alexander. After all, this was a work of art -
  • - First, they might have put someone ahead of Alexander for compositional reasons - it helps to make him a focal point if they have someone ahead of him looking back.
I agree with that, the figure is important for compositional reasons, this figure and Alexander are the balance to Darius and his charioteer, but as you say, this figure looking back does help to make Alexander the focal point.
marcus wrote: - Second, if they want to show Hephaestion as being a special person in Alexander's life, then putting him next to Alexander on the battlefield is a good way to do it, irrespective of whether he would really have been in such proximity to Alexander in the battle.[/list]
That sounds good too - it's OK to have artistic licence in a work of art, definitely.
marcus wrote: Third, and this has nothing to do with composition ... but I don't see why someone shouldn't be shown in front of Alexander. Once the wedge of Companions had made its initial impact with the Persians, it was bound to lose formation to some extent, and therefore it's easy to understand how one of the other Companions might have overtaken Alexander - not least because every Persian would be trying to get to him (Alexander, that is), so there would the largest concentration of enemy soldiers hacking away at Alexander.
Right, but this is realism, isn't it? That's what it would really have been like. The artist may have been more concerned with the message the picture was giving, and so might not have put anyone ahead of Alexander unless it meant something. But you might be right - it's such a vivid piece, not static at all, but full of pace and flow, so the artist may really have been careful with the dynamics of a battle.
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Post by Fiona »

Sandra wrote:Just for fun- some pics form my trip to Napoli- with mosaic and modern day representation (although not very good pic). I would suggest to look at this reconstruction...
http://s202.photobucket.com/albums/aa13/sise5/Napoli/
Thanks, Sandra. I thought your photo of the artist's impression of the orginal was very good. It was hard to photograph, with the glare from the room lighting on the dark old paint, but you've captured a good image of it.
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Post by agesilaos »

It is true that the artist would have been more concerned with his message, or more properly the message his patron wanted. Kassander is not down as one of Alexander's greatest fans and would certainly have cared nothing for his relationship with Hephaistion.

Its iconography would bear comparison with the hunting frieze on the Vergina tomb which was also commissioned by Kassander. Placing Philotas ahead and looking back would remind the audience that Alexander was a terror not only to the enemy but also to his 'Friends' and that his glory owed much to the effort of others, since he is not foremost in the charge.; this in turn would remind them of Philotas' claim that Alexander owed his victory to Parmenion and himself. Maybe even suggesting the losses the army suffered and their trials in foreign parts, all this in contrast to the conservative Antipatrid policy - we hear of no friend of Kassander betrayed by him, indeed his loyalty to Lysimachos whilst easily exagerated, may have been almost proverbial, Macedonian resources were not squandered overseas but garnered to protect the homeland. Again the unjust treatment of Philotas, for such it may be represented, would recall the injustices visited upon the Macedonians by Olympias again pointing up the improvement in administration.

One final thought, the dead tree, might that not symbolise the sterility of Alexander's conquest or even the death of his House - all that glory, but to what end?

Needless to say I am NOT saying the missing figre IS Philotas, only that there would be sound propaganda purposes in placing him there and it is hard to see why Kassander, a relatively poor King would bother commissioning a work in honour of an enemy unless it conveyed a message he wanted spread.
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Re: No, I don't think so...

Post by marcus »

Fiona wrote:
marcus wrote: Third, and this has nothing to do with composition ... but I don't see why someone shouldn't be shown in front of Alexander. Once the wedge of Companions had made its initial impact with the Persians, it was bound to lose formation to some extent, and therefore it's easy to understand how one of the other Companions might have overtaken Alexander - not least because every Persian would be trying to get to him (Alexander, that is), so there would the largest concentration of enemy soldiers hacking away at Alexander.
Right, but this is realism, isn't it? That's what it would really have been like. The artist may have been more concerned with the message the picture was giving, and so might not have put anyone ahead of Alexander unless it meant something. But you might be right - it's such a vivid piece, not static at all, but full of pace and flow, so the artist may really have been careful with the dynamics of a battle.
Fiona
Indeed - I would say it has much more to do with composition than with whether anyone really would have been in front of Alexander in the battle.

(Also, anyone who got in front of Alexander and then looked back would have been monumentally stupid, and would have deserved the unseen spear in the ribs he would undoubtedly have received from the enemy in front of him ...) :cry:

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