Sully Wing Secrets: Louvre's Greek and Egyptian Wonders

Discover a teacher's unique Louvre encounters, from Greek beauty to Egyptian relics. Explore beyond Mona Lisa to uncover the Louvre's heart.

(2) Apollon Sauroctone

(1) Éphèbe

You can't expect to tour the Louvre and see it all. I've visited the museum three times; most recently this past February as a high school English teacher on a London and Paris school trip. My previous visits were in 2000 and 2001 as a college student. During the first of those trips, I explored the Denon wing, which houses the Louvre's iconic treasures — the Mona Lisa, the Winged Victory of Samothrace, the Coronation of Napoleon, and all those wonderful works of art. I was in awe, though I do recall the Mona Lisa looking more like a postcard (she still does, but we adore you, La Joconde!).

On this third visit, I began in the basement of the Sully wing and worked my way up, which proved to be immensely rewarding. And I did not even catch nary a glimpse of Leonardo's lady nor did I see the Nike (they live in my heart). Where the Éphèbe (1) and Apollo Sauroctone (2) reside is a vast collection of Greco-Roman sculpture, including the Venus de Milo. I was struck by the youthful Narcissus, whom I initially mistook for an athlete — he epitomizes Greek beauty and the stylized classical loveliness associated with the young and svelte. Similarly, there is the Apollo — it seems the gods enjoyed odd, vain acts like slaying lizards — apparently, this depicts Apollo as a protector. I had some knowledge of this piece prior to my visit, so seeing it in person was a delight.

Deep in the Sully wing lie the remnants of the Louvre's past life as a fortress before it became a royal palace and now a museum. The dungeon, curiously, serves as the storage for artifacts related to French history and the story of the Louvre complex. Here, I encountered a majestic sculpture representing the river (3) — there are actually two, but here we speak of one: the Seine. And I must say, I was captivated by him.

The Louvre's Egyptian wing is dizzying, with fifteen thousand objects from their massive half-a-million-piece collection. Even after seeing Egyptian art in numerous museums, the Louvre's assemblage feels personal and well-organized. The procession of sphinxes (4) in Room 327 was a charming touch — I half-expected one to spring to life and pose the classic riddle about the creature that walks on four legs in the morning, two in the afternoon, and three in the evening.

A three-thousand-year-old Egyptian statue (5), likely once part of a fierce work, is displayed, and it caught my attention, especially because of its eyes. It reminded me of how Percy Bysshe Shelley envisions the sculptor of Rameses II (now in the British Museum), meticulously carving the pharaoh's visage, well aware of the emperor's demands for precision.

And finally, I returned to that room that first captured my heart — Room 344 — where a statue of Zeus, or technically Jupiter (6) (since it's a Roman piece), stands from the second century. And, goodness, what a figure he cuts!

(3) Un fleuve

(4) Statue of a Sphinx

(5) Statue

(6) Jupiter

Citations:

(1) Louvre Museum. Narcisse (Type, Original en Bronze) - Éphèbe (Boucle, Court, Nu, Appuyé, Sur Pilier, Bas). 2nd century A.D., Basse Égypte. Louvre, Department of Greek, Etruscan, and Roman Antiquities, Sully wing, ground floor, room 344, item Ma 457. https://collections.louvre.fr/ark:/53355/cl010278134.

(2) Louvre Museum. Apollon Sauroctone. 2nd quarter 1st century A.D., Italy. Louvre, Department of Greek, Etruscan, and Roman Antiquities, Sully wing, ground floor, room 344, item Ma 441. https://collections.louvre.fr/ark:/53355/cl010278000.

(3) Barye, Antoine Louis. Un fleuve. 19th century, France. Musée du Louvre, Department of Sculptures of the Middle Ages, Renaissance, and Modern Times, inventory number RF 1560 & RF 1561. Louvre Museum, Sully, [HIST LOUVRE] Salle 134 - Salle de la maquette, Vitrine 08 https://collections.louvre.fr/en/ark:/53355/cl010093894.

(4) Musée du Louvre. Statue of a Sphinx. Circa 380-362 B.C. [?], Serapeum of Memphis, Saqqara. Musée du Louvre, Department of Egyptian Antiquities, Room 327, Sully, inventory number N 391 D. Louvre Museum, https://collections.louvre.fr/en/ark:/53355/cl010009175.

(5) Musée du Louvre. Statue. Third Intermediate Period, circa 1069-664 B.C. [?]. Musée du Louvre, Department of Egyptian Antiquities, inventory numbers E 2410; N 1579; Clot bey C 25 no. 5. Louvre Museum, https://collections.louvre.fr/en/ark:/53355/cl010013953.

(6) Musée du Louvre. Jupiter. 2nd century A.D. [?], Italy. Musée du Louvre, Department of Greek, Etruscan, and Roman Antiquities, Room 344. https://collections.louvre.fr/en/ark:/53355/cl010277023.

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Energize Students with Quick Activity: Critical Thinking & Movement for Engagement

Revitalize your classroom dynamics with an interactive activity that boosts student engagement and fosters critical thinking. Discover how positioning students based on their opinions on controversial topics like myths and relationships not only energizes them but also prompts insightful discussions on peer influence and the Socratic method. Suitable for grades seven and up. Share your experiences!

If you’re looking for a quick method to energize your students, particularly if they appear sluggish or disinterested at the beginning or end of a class, set aside three to four minutes for this activity. Initially, they might groan, but then you present them with a scenario. 

 

You’ll ask a question and instruct students to position themselves in the classroom based on their response: those with an emphatic “yes” to one side, an emphatic “no” to the opposite side, and the undecided or “wishy-washy” in the middle. The closer a student stands to either side, the stronger their feelings about the topic. 

 

For instance, you could pose a question like, “Was Narcissus right to reject Echo’s love?” or “Does this myth accurately represent aspects of romantic relationships or unrequited love?” The more controversial or thought-provoking the question, the more engaged the students will become. As they move around the room, they not only physically activate but also engage in critical thinking, determining their stance on the issue. 

 

Observing students who are indecisive, watching where their friends go, and then following, provides an opportunity to address the influence of peer pressure in a gentle manner. This activity is not only a fun way to get students moving but also fosters critical thinking and encourages a Socratic method of engagement. 

I have implemented this strategy with students as young as seventh grade and with high schoolers. Have you tried this approach before? I’m eager to hear your thoughts and experiences.

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Language Meets Art: Exploring 'Amor' and 'Caritas' in Augustus-Saint-Gaudens’ Work at The Met 🌟🖼️

Explore the captivating intersection of language and art in Augustus Saint-Gaudens' masterpiece, Amor and Caritas, at The Met. A linguistic and artistic journey awaits, unveiling the roots of love and charity in this gilt bronze treasure. Perfect for educators and art enthusiasts.

Hey, y’all! 🌟 Hey, y’all! I’m at the Metropolitan Museum of Art today. I’m looking at Augustus-Saint-Gaudens’ gilt bronze piece from 1918 in the American wing. As a high school and middle school English and humanities teacher, I’m thrilled to share a bit of word power knowledge with you.

This piece beautifully intertwines language and art, featuring the words ‘amor’ and ‘caritas.’ 📚 ‘Amor,’ the Latin for love, is the root of the English word ‘amorous.’ And ‘caritas’? It signifies love and charity, a reminder of generosity and virtue. 💖

What makes this even more special is the angelic figure presenting these powerful words – a perfect blend of linguistic heritage and artistic expression. 🌈 So, here’s to finding love and language in art!

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Redefining Literacy in the AI Era: The Shift from Linear to Fragmented Reading

In this blog post, I discuss how literacy is evolving—a concept that has fascinated humanity since the advent of long-distance communication technologies such as the telegraph and telephone. Nowadays, our interaction with information is marked by its agility and rapidity, as demonstrated by AI advancements like ChatGPT from OpenAI.

Print magazines line a newsstand at the airport.

The way we access tools online is altering how we access texts. When Google search was first developed in the late '90s, the shift was from looking up information in print media to finding information online. However, we did not know it then, but search was a static, linear form of reading, not much different from how we generally read – in clusters of words and phrases, placed one after the other. Now, computer programmers have built tools designed to make savvy deductions on matters ranging from "The Best Way to Write a Cover Letter" to "Romanticism in Britain in the late 19th century." Instead of 'finding' what we need, we are 'sourcing' it. It's incredible, really. These generative AI models, including others like Google’s Bard (now, Gemini) and Bing’s Copilot, are built on extensive datasets, which range from Shakespeare's works to modern product labels. However, the opacity surrounding these datasets raises critical questions about transparency and intellectual property.

Consider the hypothetical 'Books three' corpus, comprising 157,000 copyrighted books. The file is purportedly an illegal 'scrape' of proprietary content The use of such a comprehensive dataset in AI training could potentially revolutionize our access to literature. This aligns with my vision of immediate access to any book, a dream that once felt unattainable.

The transformation in literacy is stark when we look back historically. In the past, literature was an auditory experience, where figures like St. Ambrose and Augustine engaged with texts through oral recitation. In this iteration of reading, words were vocal, heard, and disruptive. So, when Augustine saw his teacher Ambrose reading silently one day, it was a surprise to the young priest. That Ambrose could read to himself, without whispering the words, was a revelation. Recalling my time as Brother Bede, when I was a Benedictine monk, I remember being taught that in St. Benedict's 'Rule,' he emphasized the importance of reading out loud, contrasting with our present view of reading as a solitary, silent activity. And I realized that I spend most of my time reading silently, but when I do read out loud, it is a different, qualitative experience. I can feel the difference and can imagine being like Augustine, feeling his surprise when he saw Ambrose read silently – it blew his mind. Another shift in literacy is on its way, and it is just as, or more, mind-blowing than silent reading.

Certainly, it is mandatory to mention that the Gutenberg printing press was a pivotal moment in literacy, enabling widespread distribution of books, thus changing the way information was disseminated. In 2024, the proliferation of printed and digital materials further morphs our interaction with texts like 'Don Quixote', 'Arabian Nights', and contemporary literature. When books were first made affordable to a growing middle class, the modern-day educational system also developed, and while the ability to read and write was a luxury afforded only to the upper classes, the clergy, and those at the top echelon of the governing state, they found themselves not the only folk who benefited from literacy and reading. I cannot imagine myself not being able to read. An older man in my building was asking me about the gas bill, wondering if it had risen for me. I showed him my bill, and he meekly told me, "Oh, that's okay. I believe you." He was Mandarin-speaking, and I knew he knew a little English, but when I showed him a translation explaining that the building was reinstalling some pipes, he immediately told me, "I don't read that type of Chinese." I realized that I had known him for a long time and it was true, I had never seen him read, and he never liked to receive written messages, always preferring one-on-one conversations. I had a moment of realization that he lived in a more limited world than someone who was literate, but he seemed okay, thriving really. He maintained his backyard with pear trees and figs, and in the summer, massive tomatoes grew on a vine along the back red brick of the house. And I definitely do not know how to grow a garden the way he does; it is a loving exercise and I admire it. An eighty-year-old man doing the work, and I feel this strange sense of embarrassment, like I realize I am not as educated as he is, even though I can read fairly well, and if I want to, I can also read in a couple of other languages. My entire life revolves around words and literacy. It is my bread and butter. But still, there is something about the immediacy of the oral word, the spoken, that feels legitimate to me.

Our age is marked by AI-assisted and multimedia reading experiences. I just received a response today from one of my students – a short written response on the theme of curiosity as it develops in a passage from Ovid. But I had him talk about it one-on-one, and the eloquence that was in the written words was lost. And as I listened to him speak, I realized that he had indeed read the text; that was not the problem; he had not understood it. He would have to sit with Ovid a bit more. But is that something we still do? Long, sustained, silent reading, like Ambrose in his study? Even listening to audiobooks – which I actually think of as the purest way to experience literature, the way Homer would have spoken the words of the Odyssey – is popular, and maybe that is a way back to an older iteration of speaking and listening. In a recent poll conducted by the Pew Research Center, 23 percent of Americans say they haven't read a book in whole or in part in the last year. The people who are not reading, according to the data, are high school graduates without a college degree. The poll data showed that "Hispanic adults, older adults, those living in households earning less than $30,000, and those who have a high school diploma or did not graduate from high school were among the most likely to report in that survey they had never been to a public library." But of those who read, literacy is more important than ever – and how we access information is critical for how we see ourselves in the future. Are we going to continue to be a society that still attends to words in the way that a professor of antiquity will learn Latin or Greek in order to read texts written in languages no one speaks or writes in anymore? We no longer solely read a book from start to finish. We consume content in various forms: watching videos, listening to podcasts, or even immersing ourselves in a VR device that places us within a 3D rendering of a play's setting. This multi-modal approach to literacy allows for a more dynamic and interactive engagement with text, challenging the traditional linear narrative.

This revolution in literacy is reshaping educational paradigms. Teachers will navigate a landscape where students have instant access to a vast array of texts and AI tools. Lessons will no longer be confined to structured units but will evolve into expansive, interactive explorations of literature and information.

The shift to this tech-integrated literacy might lead to a disconnection from our sense of humanity, necessitating escapes to technology-free zones for mental health. Resorts in remote locations, offering a respite from digital saturation, would become essential for re-grounding our human experience.

In summary, the way we relate to language and literacy is undergoing a profound transformation. We are moving from traditional, linear reading habits to fragmented, AI-integrated, and multi-modal literacy. This shift challenges us to rethink our approach to reading and its implications for our cognitive and social development.

Explore Greek & Roman Gods: Ares vs Mars - Mythology, Love, and War Insights

Dive into the fascinating world of Greek and Roman mythology with a detailed comparison between Ares and Mars. Discover their myths, lovers, and roles in ancient tales.

Hey, y’all. I’m in the Louvre Museum. Here stands Mars (or Ares to the Greeks), the deity of war, embodying cries, battles, bloodshed, and military conquest. It feels like the Romans admired him significantly, and although the Greeks certainly gave him a place of honor on Olympus, he wasn’t as much worshipped in temples as he was respected and feared. His lover was famously Aphrodite — the goddess of love. Also, in the spirit of exploring the less discussed side of history, we get to see his representation from behind. Additionally, if you’ve ever seen Ridley Scott’s ‘Prometheus’ — the prequel to the Alien movies — does the god’s face remind you of the giant humanoids from the film? And, if you’re a Percy Jackson fan, Ares plays a supporting role in the plot of the first book.

Citation:

Louvre Museum. "Arès Borghèse." Louvre Collections, https://collections.louvre.fr/ark:/53355/cl010279164. 

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Valentine, Christian Martyr and Saint — Resources for the Middle and High School Humanities and English Language Arts Classroom

Hey, y'all. I feel like Valentine's Day is such an ingrained part of American school life; however, few of us know the actual, legendary story. So—let's rectify that with a true-to-the-source resource on Valentine, a Christian martyr from Rome in the Third Century. Let's go!

You'll love this historically-based resource detailing the mystery surrounding Valentine the Saint and Valentine's Day. Download it here from my TpT store.

Happy Valentine's Day! I'm thrilled to share my latest educational adventure with you! We're diving into the mysterious world of Saint Valentine, a figure whose story is as fascinating as it is enigmatic. In 1969, the Catholic Church made the intriguing decision to remove Saint Valentine from its liturgical calendar, citing doubts about his true identity. Was there one Valentine, or several figures merging into this legendary name? This captivating question is the cornerstone of our new resource, designed to spark curiosity and critical thinking among students.

What's Inside This Resource?

• Print and Digital Access: Get your hands on both PDF and Google Workspace formats, plus Easel integration.
• Three-Day Lesson Plan: Complete with insightful teacher's notes.
• Key Characters and Places Anchor Chart: Situate Valentine in his ancient Roman milieu of the 3rd century.
• Reading Cards: Dive into the 'Lives of the Saints' and a detailed dictionary entry on Saint Valentine, each enriched with art and literary connections.
• Note-taking Template & 16-Question Bank: Tailored for both teachers and students.
• Exit Ticket: A crucial tool for assessing student understanding and a foundation for research and writing assignments.
• Frayer Model Vocabulary Template: Engage students visually and creatively in understanding vocabulary.
• Research Paper Prompt: Encourage students to explore the historical depths of Saint Valentine's life and legends.
• Further Reading List: Far from just a bibliography, this is a treasure trove for deeper exploration and student projects.

Designed for middle and high schoolers, this resource fits seamlessly into thematic lessons around Saint Valentine's Day in English Language Arts and Humanities classes.

Even More Love for Your Lessons:

1. Three Myths of Lovers
2. Tales of Love and Discord
3. Pygmalion and Galatea

Find teacher-related resources

on the Stones of Erasmus TpT Store.

For full access to this resource and more, navigate to my website, Stones of Erasmus. Let's explore the heart of history together!

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Rediscovering "Bélizaire and the Frey Children": A Tale of Resilience in Southern Art

Hey, y’all. I’m in the Metropolitan Museum of Art in the American Wing. Y’all — it’s a moment of rediscovery for this New Orleanian! I’m standing before the once-lost-now-found “Bélizaire and the Frey Children,” a significant artwork that was hidden in the New Orleans Museum of Art’s storage for ages.

🎨 Painted circa 1837 by Jacques Guillaume Lucien Amans, this portrait captures an upper-class New Orleans family before the Civil War and includes Bélizaire, an enslaved Afro-Creole teenager — he was perhaps fifteen year’s old. What’s truly remarkable is Bélizaire’s inclusion in the Frey family portrait — a rare depiction of a person of color in Southern art of that era.

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The painting’s history is as haunting as it is fascinating. After the Spanish flu struck, tragically claiming the lives of the three Frey children, Bélizaire’s image was deliberately erased from the painting, likely by a Frey family member. Yet, his presence lingered like a ghostly outline, defying his erasure.

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🔍 Thanks to the efforts of historian Katy Morlas Shannon and art collector Jeremy K. Simien, Bélizaire’s story has been uncovered and his image restored. This painting not only offers a glimpse into the complex world of 19th-century New Orleans but also symbolizes resilience against historical erasure.

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🖼️ “Bélizaire and the Frey Children” stands as a testament to our complicated history and the enduring spirit of those who were once overlooked. It’s a haunting yet beautiful reminder of our past.

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