Assess the significance of ‘The Abduction of Persephone’ wall painting, in the royal Tomb of Persephone at Vergina.
In order to answer this question, we must recognise that ‘The Abduction of Persephone ‘ wall painting is one of the most significantly surviving frescoes from the 4th century BC, found in one of the royal Verginian tombs of Philip II, The Tomb of Persephone. To consider its importance we can analyse its important contribution to the Greek myth, Greek art, and death of one of the most influential Greek rulers in history,whilst comparing its similarity to Ovid’s poem.
On 8 November 1977, German archaeologist Manolis Andronikos discovered these three tombs buried in a great tumulus. From the early stages of investigating the site, Andronikos maintained the idea that these belonged to the dynasty of Macedonian Kings, confirming historian Nicolas Hammond’s theory of the same idea. Also uncovered in 1977, the Tomb of Persephone held the most important and intact wall painting of this period. Although it contained no valuables inside, on its walls was this marvellous fresco, showing the Abduction/Rape of Persephone by Hades, the god of the underworld. Possibly the work of either Philoxenes or Nikomachos, famous Greek painters of this period, it is the most amazing painting of its time, supported by the shreds of pottery left in the tomb.
Throughout Greek mythology, Persephone has been perceived as the innocent goddess of the four seasons and all that grows and dies within them. This significant status in history is connected to the Greek myth, The Rape of Proserpina, visually presented in ‘The Abduction of Persephone’ wall painting. Told by the Roman poet, Ovid, ”the terrified goddess cried out for her mother...(as) her abductor rushed off in his chariot...through the ruptured earth”[1]. In the wall painting, Persephone is seen with a panic-stricken face and with obvious resistance. Hades, with his firm grip on Persephone drags her away on his chariot, determined and led by Hermes. One of Persephone’s attendants, Cyannae is left in despair and clearly frightened. Very similar in scope to Ovid’s poem, we can safely say that this was a well known story throughout the history of Greek mythology. This scene is not only a “representation of the concept of seed and its earth with all its brutal implications”[2], but its symbolic connection to the death of Philip II and his family of kings.
Placed on the north wall of the Tomb of Persphone, the great artistry and technique of this wall painting was almost forgotten amidst the gold and glitter of the discovery of these tombs. Dated to around 340 BC, this painting was composed in the time of Classical and Hellenistic Greek art. Advances in realistic painting technique grew, which led many artists to focus their efforts on panels and frescoes during this time. ’The Abduction of Persephone’ wall painting is an example of this, where its free flowing lines, rapid brushstrokes and pastel colours allowed for the naturalistic intention of most Hellenistic painters. As it is a very strong and dramatic work, it creates an illusion of depth and of the three-dimensional. The softness of the painting, gives a very reliable indication of the aims of Hellenistic and Classical painting, as it is one of few that remain closely intact to convey these ideas. 
Classical and Hellenistic art spanned the years between 500-27 BC. Where the red-figure in vase painting soon declined, it gave rise to human movement, freedom, expression and nature. Painting also began to take over as well, leaving sculpture in the Archaic and Dark Age’s of Greek art. As only a handful of these frescoes survive, the best preserved is ‘The Abduction of Persephone’ .The contours and structure of the two main figures are shaded realistically, such as the delicate, pink ,and folded fabric on Persephone and the . The composition of these figures and the way they flow together also suggests human likeness, though with the added divinity of most Hellenistic art.
Though robbed of all antiquities during the invasion of the Gauls in the 3rd century BC, the Tomb of Persephone still upholds ‘The Abduction of Persephone’ wall painting. Measuring 1m high by 3 m long, this painting was slightly damaged by this robbery, causing small fractures to occur along its face. This is not the only damage this painting has encountered, such as the wear of hundreds of years and the eventual sag of colours from its original palette. Damage of this kind, to such a significant painting, has led to the major reconstruction, repaint and replaster it attained during the 1990’s.Creating a new scene for the viewer, it has dramatically impacted on its brilliance in the 20th century.
*http://books.google.com.au/books?id=vt9JwsNckzwC&pg=PA191C1pg=PA191dq=technique+of+rape+of+persephone+painting&
[1] Ovid,Metamorphoses Book V
[2] Letter, Adolph Gottlieb & Mark Ruthko,
Jun 7,1943:On the myth of Persephone
