The much-discussed work by J.L.S. Bartholdy (1807) includes one of the earliest depictions of the remains of the prehistoric acropolis. The subject depicted, that is, the Lions' Gate, was to become the emblem of the site as it was the only sculptured monument in plain sight. We come upon the same monument in the rare edition by archaeologist Ed. Dodwell (1814) and the travel chronicle by Ed. D. Clarke (1814), very significant for its itinerary and observations, in the illustrations of the poem by W. Haygarth, ardent lover of antiquity (1814), and also in later works (R.R. Farrer, 1882).
In the early 19th century, W. Gell (1810) realized one of the first systematic archaeological explorations in the locations described in Pausanias' text and was able to identify several Mycenaean sites (1810). The magnificent plates by Ed. Dodwell (1819) provide a wealth of information on public and private life of the Greeks in the pre-revolutionary period. The Italian artist S. Pomardi (1820) accompanied Edward Dodwell in his archaeological explorations and drew several subjects at the scholar's request. Pomardi's drawings are characterized by clarity and concision. The plates in the work of Ed. Dodwell (1834) show uncommon and original views of lesser known archaeological sites. The lithographs by A. -V. Joly (1824) are inspired by earlier similar works and convey the philhellenic spirit of the era.
The observations made by the members of the Section of Architecture and Sculpture of the French Scientific Mision under G. A. Blouet are accompanied by drawings of excellent technique and high artistic quality. The conclusions of their research and the related graphic material, released in three monumental volumes (1831, 1833, 1838), contributed greatly to the perception of the monuments and constituted a work of reference for all subsequent studies.
Another subject from Mycenae which gives impulse to archaeological research and consequently lends itself to graphic depictions is the tholos tomb known as the Treasury of Atreus [R. Walpole (1818), Ed. Dodwell, (1819), J.J. Horner (1823), Ch. R. Cockerell (1830), F.Ch.H.L Pouqueville (1835), J. Skene (1838-45) and E. Rey (1864)], while the landscape around Mycenae left a lasting impression on painter O.M. von Stackelberg (1830). After his journey in Greek lands, at the begining of the 19th century, Stackelberg was able to render historical locations and antiquities in accordance with the emerging tendency of romanticism (1834).
The Album of 1984 includes rare and very interesting wood engravings taken from the pioneering weekly review “The Illustrated London News” (1842-1885) and the similarly themed magazine “The Graphic” (1869-1885). The plates depict locations, people and events (political, social and military), from 1842 to 1885. On the whole, artistic magazines of the 19th century published plates with views of significant monuments of the East, accompanied by thorough explanatory texts. They sold well, and aimed both at entertaining and educating the public (M. Busch, 1869).
After the systematic excavations in Mycenae, started by Heinrich Schliemann, we have pictures of the Treasury of Atreus [El. Cabrol (1890), Ε. Reisinger (1923)] and also in editions combining various modes of graphic representation (A. von Schweiger Lerchenfeld, 1887). The prolific Irish scholar J.P. Mahaffy wrote an account of his tour of Greece (1890), illustrated with exquisite wood engravings. The plates were etched from pencil drawings, which in their turn were based on imaginary representations and photographs.
After the foundation of the Greek state, Mycenae are an easily accessible as well as important archaeological site. Thus, representations of the area multiply [Fr. Aldenhoven (1841), G.N. Wright (1841), Th. Moncel (1843)], while the impressive walls with their reliefs are depicted in engravings in the most successful editions of the era (Chr. Wordsworth, 1841 and Ch. Wordsworth, 1882). The work of J. von Falke (1887 / 2002) is illustrated by exquisite engravings. They show works of ancient Greek art and imaginary depictions of scenes from the public and private life of the ancient Greeks.
The capacity for insight and keen observation evident throughout Henri Belle's text (1881) equally mark the illustrations of his travel account.
Towards the end of the 19th century drawings and plans of the site are included in travel guides (K. Baedeker, 1894), while myths and landscape predominate in the works of the early 20th century (V. Willoughby, 1925).
Written by Ioli Vingopoulou