Poster design featuring:
1: Mask of Agamemnon (c. 1550-1500 BC) [1]
2 The Man in the Iron Mask (1939) [2]
3: L'homme au masque d'or (2024) [3]
I.
The death masks of Mycenae are a unique collection of gold funerary masks found
on male bodies within a Bronze Age burial site located
within the ancient Greek city. They were discovered by German businessman and amateur archaeologist Heinrich Schliemann during an excavation in 1876.
The masks consist of a flat (foil-like) layer of gold that has been hammered into shape and depict faces with distinct features (including stick out ears) chiseled into the metal.
The masks are believed to be fairly faithful representations of the deceased, although there's obviously a degree of artistic license (and idealisation); those who could afford to have such masks made would obviously want to look their best in the circumstances.
The most famous of these masks is known as the Mask of Agamemnon, after Schliemann claimed to have discovered the actual burial site of the legendary king of the Acheans from Homer's Iliad. Let's just say that from the very start there were doubts raised as to its authenticity ... [4]
II.
Whilst the Mask of Agamemnon certainly played a part in my thinking when I created the image shown as figure 3 above, I was actually more inspired by the story of an unidentified prisoner of the French state during the reign of Louis Quatorze; a prisoner referred to (in English) as The Man in the Iron Mask ...
Arrested and incarcerated in 1669, the Man in the Iron Mask spent 34 years locked up until his death in the Bastille in 1703. Known by several pseudonyms, his true identity remains a mystery, even though it has been extensively researched and argued over by historians ever since. According to one theory, he may have been the son of Oliver Cromwell. Voltaire believed him to be Louis's illegitimate brother [5].
Whoever he was, his ordeal has been the subject of many fictional works, including novels, poems, plays, and films.
Perhaps the best-known of these works is by Alexandre Dumas, although readers whose preference is for American cinema rather than French literature might better recall the 1939 movie directed by James Whale (or indeed the 1998 movie directed by Randall Wallace and starring Leonardo DiCaprio). Both films are what would be termed very loose adaptations of the third part of Le Vicomte de Bragelonne (1847-50) [6].
III.
Hopefully, in my Man in a Golden Mask collage I have managed to capture something both of the Mycenaean death mask in all its aureate splendour and the close-fitting iron mask as imagined by Dumas in all its horror.
By leaving the eyes open and the mouth exposed, I attempted to show how one who suffers great torment at the hands of others dreams of vengeance and this can often be seen shining in their eyes and smiling on their lips ...
Notes
[1] The Mask of Agamemnon is currently held by the National Archaeological Museum of Athens, Greece: click here.
[2] A still from the 1939 film The Man in the Iron Mask (dir. James Whale).
[3] Papier collé by Stephen Alexander (2024).
[4] Towards the end of his life, Schliemann accepted doubts as to
the mask's true owner. Modern archaeological research suggests that the mask is genuine, but
pre-dates the period of the Trojan War by 300–400 years. Other researchers say it may even belong to a much earlier period, c. 2500
BC.
[5] It is thanks to Voltaire that the legend developed that the anonymous prisoner was made to permanently wear an iron mask; as a matter of fact, his face was hidden behind a mask of black velvet and official documents reveal that he was made to wear it only when travelling between prisons after 1687, or when attending prayers within the Bastille in the final years of his
incarceration.
[6] Le Vicomte de
Bragelonne ou Dix ans plus tard is an enormous 2,800 page novel by Alexandre Dumas which was first published in serial form between 1847 and 1850.
In most English translations, the 268 chapters are
usually divided into three volumes: The
Vicomte de Bragelonne (chapters 1-93), Louise de la Vallière (chapters 94-180), and The Man in the Iron
Mask (chapters 181-269).
Long fascinated by the tale of l'homme au masque de fer, Dumas portrays the prisoner as Louis XIV's identical twin.
