Mask of Agamemnon
Title
Mask of Agamemnon
Date
ca. 1550-1500 BC, late Bronze Age
Artist or Workshop
Unknown
Materials
Gold
Height of the work
35 cm tall
Provenience
Greece, Mycenae, Grave V, Grave Circle A
Current Location
National Archaeological Museum of Athens, Greece
Description and Significance
Description:
The Mask of Agamemnon depicts the face of a male figure produced in hammered sheet gold. It is highly lustrous and appears to be thin and fragile as aluminum foil. The frontal face has distinctly male features including a full beard with a small triangular tuft of hair below the lip. Comb-like patterns occur on the eyebrows and mustache, creating a more naturalistic representation of hair on the mask. His lips are tightly sealed, possibly creating a sense of impatience in demeanor. Though the figure clearly represents a male face, there are features that are not naturalistic. For instance, the eyes on the mask appear as if the man’s eyelids were highly swollen and closed tightly. However, some scholars argue that his eyes appear both closed and open simultaneously. His eyebrows do not indicate any sense of tension, though. His ears also lack naturalism as they are rounded and decorative; they are also detached from the main part of the head.
Significance:
The Mask of Agamemnon was created in the beginning of the final phase of the Bronze Age in ancient Greece and found in 1876 by Heinrich Schliemann. Schliemann named the work "The Mask of Agamemnon" in order to link it to the Trojan War, although this mask did not actually belong to Agamemnon himself. The gold mask, from the Fifth Shaft Grave in Grave Circle A, was made through the process of hammering gold against a mold (likely wooden) until it became as thin and flat as possible while still embodying the characteristics of the mold. Other masks like it were found in the surrounding graves found by Heinrich Schliemann; the masks were a localized phenomenon and the style of representation differed greatly from the classic Mycenaean standard.
The specificicity in which the hair is displayed may also indicate an emphasis on physical appearance and the importance of neatness in this society. Agamemnon serves in Greek mythology as the king of Mycenae, son of King Atreus and Queen Aerope. This mask was highly significant because it displayed the notion of likeness between Agamemnon and the man who wore the mask in death. The mask seems to have been placed over the face of a warrior from a very important family, though identity of that warrior is unknown. Aside from the mask, the grave goods in Grave Shaft V indicate that this man was, in fact, a warrior. Through depicting the characteristics of a king from mythology and placing it on the face of a warrior, the qualities of Agamemnon are comparable and transferable to the corpse on which it remains. The mask is quite different compared to other burial masks in this society because it does not fit the face of the man on which it was placed, making it a unique tribute to Agamemnon himself.
Additionally, the mask represents great innovation. The Mycenaean Greeks were known for becoming one of the first civilized Greek societies; through developing their own writing system and palatial states, it is evident that they strived for greatness. The mask is no less innovative, both physically and symbolically. It was also found amongst many other gold grave goods, indicating a high production rate of gold products such as this one.
It should be noted that some historians and scholars believe the mask is actually a forgery. William Calder III published the scholarly article, “Is the Mask a Hoax?,” in which he outlined the nine reasons to maintain skepticism regarding the mask’s authenticity. One big argument supporting this claim is that Schliemann himself was not an archaeologist by trade, but a businessman. As an amateur in the field of archaeology, his findings seemed too good to be true. Therefore, some believe that he may have altered or modified the mask to meet the aesthetic preferences of the 19th Century. One identifiable example to further this argument is style of the beard and mustache of the figure in the mask; it is thought that Schliemann produced this based on the popularity of beards and mustaches during the 1800s.
The Mask of Agamemnon depicts the face of a male figure produced in hammered sheet gold. It is highly lustrous and appears to be thin and fragile as aluminum foil. The frontal face has distinctly male features including a full beard with a small triangular tuft of hair below the lip. Comb-like patterns occur on the eyebrows and mustache, creating a more naturalistic representation of hair on the mask. His lips are tightly sealed, possibly creating a sense of impatience in demeanor. Though the figure clearly represents a male face, there are features that are not naturalistic. For instance, the eyes on the mask appear as if the man’s eyelids were highly swollen and closed tightly. However, some scholars argue that his eyes appear both closed and open simultaneously. His eyebrows do not indicate any sense of tension, though. His ears also lack naturalism as they are rounded and decorative; they are also detached from the main part of the head.
Significance:
The Mask of Agamemnon was created in the beginning of the final phase of the Bronze Age in ancient Greece and found in 1876 by Heinrich Schliemann. Schliemann named the work "The Mask of Agamemnon" in order to link it to the Trojan War, although this mask did not actually belong to Agamemnon himself. The gold mask, from the Fifth Shaft Grave in Grave Circle A, was made through the process of hammering gold against a mold (likely wooden) until it became as thin and flat as possible while still embodying the characteristics of the mold. Other masks like it were found in the surrounding graves found by Heinrich Schliemann; the masks were a localized phenomenon and the style of representation differed greatly from the classic Mycenaean standard.
The specificicity in which the hair is displayed may also indicate an emphasis on physical appearance and the importance of neatness in this society. Agamemnon serves in Greek mythology as the king of Mycenae, son of King Atreus and Queen Aerope. This mask was highly significant because it displayed the notion of likeness between Agamemnon and the man who wore the mask in death. The mask seems to have been placed over the face of a warrior from a very important family, though identity of that warrior is unknown. Aside from the mask, the grave goods in Grave Shaft V indicate that this man was, in fact, a warrior. Through depicting the characteristics of a king from mythology and placing it on the face of a warrior, the qualities of Agamemnon are comparable and transferable to the corpse on which it remains. The mask is quite different compared to other burial masks in this society because it does not fit the face of the man on which it was placed, making it a unique tribute to Agamemnon himself.
Additionally, the mask represents great innovation. The Mycenaean Greeks were known for becoming one of the first civilized Greek societies; through developing their own writing system and palatial states, it is evident that they strived for greatness. The mask is no less innovative, both physically and symbolically. It was also found amongst many other gold grave goods, indicating a high production rate of gold products such as this one.
It should be noted that some historians and scholars believe the mask is actually a forgery. William Calder III published the scholarly article, “Is the Mask a Hoax?,” in which he outlined the nine reasons to maintain skepticism regarding the mask’s authenticity. One big argument supporting this claim is that Schliemann himself was not an archaeologist by trade, but a businessman. As an amateur in the field of archaeology, his findings seemed too good to be true. Therefore, some believe that he may have altered or modified the mask to meet the aesthetic preferences of the 19th Century. One identifiable example to further this argument is style of the beard and mustache of the figure in the mask; it is thought that Schliemann produced this based on the popularity of beards and mustaches during the 1800s.
References
Australian Museum
The Metropolitan
The Khan Academy
BBC Worldwide Ltd, Films for the Humanities & Sciences (Firm), and Films Media Group. Inside the National Archeological Museum of Athens. New York, N.Y.: Films Media Group, 2012. Web. Museum Secrets (Specials); Museum secrets, Specials.
Blegen, Carl W. "Early Greek Portraits." American Journal of Archaeology 66.3 (1962). pp. 245-249.
Breckenridge, James Douglas. Likeness; a Conceptual History of Ancient Portraiture. Northwestern University Press, 1968. pp. 87-130.
Harrington, Spencer P.M., et al. “Behind the Mask of Agamemnon.” Archaeology, vol. 52, no. 4, 1999, pp. 51–59., www.jstor.org/stable/41779424.
The Metropolitan
The Khan Academy
BBC Worldwide Ltd, Films for the Humanities & Sciences (Firm), and Films Media Group. Inside the National Archeological Museum of Athens. New York, N.Y.: Films Media Group, 2012. Web. Museum Secrets (Specials); Museum secrets, Specials.
Blegen, Carl W. "Early Greek Portraits." American Journal of Archaeology 66.3 (1962). pp. 245-249.
Breckenridge, James Douglas. Likeness; a Conceptual History of Ancient Portraiture. Northwestern University Press, 1968. pp. 87-130.
Harrington, Spencer P.M., et al. “Behind the Mask of Agamemnon.” Archaeology, vol. 52, no. 4, 1999, pp. 51–59., www.jstor.org/stable/41779424.
Contributor
Charlotte Myers
Citation
Unknown, “Mask of Agamemnon,” Digital Portrait "Basket" - ARTH488A "Ancient Mediterranean Portraiture", accessed April 24, 2024, http://classicalchopped.artinterp.org/omeka/items/show/20.
Item Relations
This item has no relations.