The Spanish Ambassador and Samuel Daniel's Vision of the Twelve Goddesses: A New Document [with text]

The performance of Samuel Daniel's masque The Vision of the Twelve Goddesses at court on January 8, 1604 took place in the midst of the preliminary negotiations that would lead to the signing of the Anglo-Spanish peace at Somerset House the following August. Philip III sent a special ambassador to England to congratulate James on his accession, and a series of tussles between Juan de Tassis and his French counterpart ensued. As a recently-discovered document in the Archivo General de Simancas reveals, Anna of Denmark intervened personally to insure that de Tassis, and not the Frenchman, attended the masque. This was a clear signal of James and Anna's peace aims, which de Tassis conveyed to the King of Spain; moreover, he enclosed in his dispatch a text of Daniel's masque which he clearly considered both political intelligence and of interest to the theater-loving Hapsburg monarch. The Simancas text of the Daniel masque is a new version, hitherto unknown, which adds to our knowledge of the circumstances in which the first Stuart masque was performed. Here we present a transcription and annotated translation of both de Tassis' letter and the text of the masque he had compiled for Philip III. (B. C.-E. and M. H.)

Sexual symbolism in the Early Neolithic of the southern Levant: pestles and mortars from WF16

WF16 is a Pre-Pottery Neolithic site in the Southern Levant that has produced an important collection of ground stone artefacts. These include one explicit and one ambiguous representation of a phallus – the latter may be a human head and shoulders. The authors note the visual similarity of certain pestles from WF16 to phalli and suggest that such artefacts and their use may have been imbued with sexual metaphor. As such, the most potent references to sex, reproduction and fertility in the early Neolithic may not be the exotic figures claimed to be ‘Mother Goddesses’ but located in the most mundane of domestic artefacts.

Budding Aphrodite: into the future

As with many aspects of antiquity, the more we discover about Aphrodite, the more we seek. Images of her or others in her guise are extensive; work over the last two hundred years provides important historical and archaeological contexts that connect the images with their creators and users. These contexts are now an important means of understanding Aphrodite’s divine personality or role(s) in various places and times. Although ancient attestation for her is sometimes less than for other goddesses, there is certainlymore post-antique evidence for her Nachleben— as herself, as Venus, or as an archetype or stereotype. Our comprehension is nonetheless complicated by the variety of ways she is perceived and received—in cult, art, and literature—up to the present.

Muses

The Muses are goddesses and teachers of divine wisdom evoked in dance, music, and poetry. Late sources suggest that they invented the alphabet (Diod. Sic. 7.74.1) and the arts and sciences (Anth. Lat. 1.1.88; 1.2.664).