The Mask of Troy by David Gibbins Page A

beautiful golden cup with scenes in relief, the other a group of swords. ‘When Monticelli made that painting, the only available images from antiquity came from the art of Greece and Rome, so that’s what he used. His figures look as if they’ve been lifted from sculptures in Rome. But these two images here are the real thing, actual Mycenaean art. The one on the left is the Vaphaio Cup from Greece, with wonderful relief work in gold, showing scenes of a hunt. And those are swords found by Schliemann at Mycenae, inlaid with gold and niello. These images suggest what we might expect to find on a shield, bronze decorated with inlays and gold relief. But they tell us more than that. Look at the bull on the cup. It’s stretched, powerful, a scene of intense action. The classical figures on Monticelli’s shield are indolent, posed, idealistic. Mycenaean art had an edge to it. The shield may have contained pastoral scenes, images of peaceful life, but there would have been a vibrancy to them, a dynamism, as if everything were tightly wound. In the world of the late Bronze Age, violence may have been ritualized, channelled through the contest of heroes, but it was still violence, a visible part of day-to-day life. It was a world where men at leisure didn’t lounge around in gymnasia or bathhouses as in the classical period, but went outdoors to hunt and play, to engage in bloody combat with boars and bulls and each other.’
    ‘So what about images of real men?’ Costas said. ‘Are there any Bronze Age portraits? Heroes and kings?’
    Jack nodded slowly. ‘One stormy night in 1876 in the royal grave circle at Mycenae, Schliemann found this.’ He tapped, and the image changed to one of the most fabulous archaeological discoveries of all time, a golden mask in the shape of an angular, bearded face, the eyes hooded, elusive. It was the ultimate image of kingly power, aloof, unknowable, but unmistakably human, not the idealized image of a god.
    ‘The Mask of Agamemnon,’ Costas murmured. ‘When I was home in Greece as a boy, my grandfather took me to see it. It’s virtually a national symbol. It’s the pride of the National Archaeological Museum in Athens.’
    Jack stared hard at the image, trying as he had done a thousand times before to see beyond those hooded lids, to reach into the soul of the man who lay behind the mask. ‘According to the Iliad , the shield of Achilles was made during the siege of Troy, in the ninth year, close to the end. An expeditionary army in the field for so long would have had its own smiths and forges, its own armourers, probably at their base on the island of Tenedos. When Achilles needs new armour, he sends word back there. Forget about mythical Thetis and the forge on Olympus, but imagine some down-to-earth Hephaestos whose job is to keep the heroes supplied with all their finery, whose workshop does more than fix helmets and churn out spearheads. Our guy’s an artist, used to creating pieces of armour for swagger and display. And look at that mask. Mycenaean artists could do portraits.’
    ‘So you’re suggesting that the images on the shield, the people, could be real people, actual portraits?’
    ‘After nine years, everyone knew the faces. The images of generals are etched on the minds of soldiers. Think of Alexander the Great, King Henry V of England, Napoleon, General Ulysses S. Grant. We all know what they looked like. To the soldiers at Troy, the faces of their captains and heroes would have been as familiar as Hollywood actors are to us. These were not distant figures in some headquarters tent, but were there every day in front of the soldiers on the beach, shouting, feuding, drinking, whoring, sulking, just as Homer describes them. So yes, the people on the shield could be real people, real heroes. And a real image of a real king.’
    ‘ A real king ,’ Costas repeated, pointing at the image of the golden mask. ‘And that one. Do you think that’s really