PowerPoint Animations and Transitions
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PowerPoint Animations and Transitions
This lesson teaches you how to animate the objects on your PowerPoint slides.
Lesson 3: Animations, Transitions, Spell Check, Outline Tab, Slides Tab, Sorter View, and Printing
Animations control how objects move onto, off of, and around your slides. Transitions control how your presentation moves from one slide to the next. This lesson teaches you how to create animations and transitions. It also teaches how to spell-check your document, how to use the Outline and Slides tabs, how to use Sorter view, and how to print.
Animations
You can animate the objects on your PowerPoint slides. PowerPoint provides four types of animations: Entrance, Emphasis, Exit, and Motion Paths. An Entrance animation determines the manner in which an objec for example, an object can move onto a slide. An Emphasis animation does something to draw at for example, the object can become larger. An Exit animation determines the manner in which an o for example, an object can move off a slide. A Motion Paths animation determines how an object
for example, an object can move from left to right.
After you add an animation, you can use the Custom Animation pane to modify it by choosing an effect. Choosing an effect enables you to define what starts the
animation,
its properties (such the direction from which an object moves onto the slide), and control the speed of the animation. In addition, you can have an animation start when you click the mouse, start along with the previous animation, or start at a specified time after the previous animation.
If the Auto Preview box is checked on the Custom Animation pane, PowerPoint provides you with preview of your animation after you create it and each time you modify it. You can also use the Play button
on the Custom Animation pane to preview an animation.
To choose an effect:
Select the object you want to animate.
Choose the Animations tab.
Click the Custom Animation button . The Custom Animation pane appears.
Click the Add Effect button . A menu appears.
Choose the type of effect you want. A submenu appears.
Click the effect you want. PowerPoint applies the effect.
To modify an effect:
Click the down arrow next to the Start field on the Custom Animations pane and then select the start method you want.
Click the down arrow next to the Property field on the Custom Animations pane and the select the property you want. The Property field might be labeled Direction, Size, or some other property.
Click the down arrow next to the Speed field on the Custom Animations pane and then select the speed you want to apply to your
animation.
To preview the animation, click the Play button
on the Custom Animations pane.
EXERCISE 1
an Animation to a Slide
Click Slide 2 on the Slides tab.
Select &Start saving early.&
Choose the Animations tab.
Click the Custom Animation button . The Custom Animation pane appears.
Click the Add Effect button . A menu appears.
Choose Entrance. A submenu appears.
Click Fly In. PowerPoint applies the effect. If the Auto preview box is checked, PowerPoint automatically provides you with a preview of the animation.
Modify the Effect
Click the down arrow next to the Start field and then select After Previous.
Click the down arrow next to the Direction field and then select From Bottom.
Click the down arrow next to the Speed field and then select Medium.
Add Another Animation
Select &Apply for financial aid.&
Click the Add Effect button . A menu appears.
Choose Entrance. A submenu appears.
Click Fly In. PowerPoint applies the effect. If the Auto preview box is checked, PowerPoint automatically provides you with a preview of the animation.
Modify the Animation
Click the down arrow next to the Start field and
then select After Previous. The Apply for Financial Aid field appears in the center of the Custom Animation pane.
Click the down arrow next to the Apply for Financial Aid field and then click Timing. The Fly In dialog box appears.
Type 0.05 in the Delay text box.
Click the down arrow next to the Direction field and then select From Bottom.
Click the down arrow next to the Speed field and then select Medium. If the Auto preview box is checked, PowerPoint automatically provides you with a preview of the animation. You can
click the Play button
on the Custom Animation pane at anytime to preview an animation.
Add Transitions
Transitions determine how your presentations move from one slide to the next. For example, a slide can move up onto the screen and replace the previous slide. PowerPoint provides
several transition methods. You can
add sound to a transition and you can control its speed. You can apply a transition to selected slides or to all of the slides in your presentation.
A transition can occur when the presenter clicks the mouse or after the amount of time you specify.
To apply a transition to selected slides:
On the Slides tab, hold down the Ctrl key and then click the slides to which you want to apply the transition.
Choose the Animations tab.
Click the More button
in the Transition to this Slide group. A menu of transitions appears.
Click the transition you want to apply. PowerPoint applies the transition. As you roll your
pointer over each transition, PowerPoint provides you with a live preview of the transition.
To apply a transition to all slides:
Choose the Animations tab.
Click the More button
in the Transition to this Slide group. A menu of transitions appears.
Click the transition you want to apply. As you roll your
pointer over each transition, PowerPoint provides you with a live preview of the transition.
Click the Apply to All button
in the Transition to This Slide group.
To add a sound to a transition:
Choose the Animations tab.
Click the down arrow next to the Transition Sound field and then click the sound you want. As you roll your
pointer over each sound, PowerPoint plays the sound.
To set the speed of a transition:
Choose the Animations tab.
Click the down arrow next to the Transition Speed field and then click the speed you want.
If you want the transition to occur after the presenter clicks the mouse, check the On Mouse Click check box. If you want a transition to occur after a specified period of time, check the Automatically After check box and then specify the amount of time you want to elapse before the transition occurs. The On Mouse Click check box and the Automatically After check box are both located on the Animations tab in the Transition to This Slide group.
EXERCISE 2
Add Transitions
Choose the Animations tab.
Click the More button
in the Transition to this Slide group. A menu of transitions appears.
Click the Push Up transition. As you roll your
pointer over each transition, PowerPoint provides you with a live preview of the transition.
Add Sound and Set the Speed
Click the down arrow next to the Transition Sound field and then click Click.
Click the down arrow next to the Transition Speed field and then click Slow.
Advance Slide
Check the On Mouse Click check box.
Click the Automatically After check box.
Type 00:07 in the Automatically After text box.
Click the Apply to All button . PowerPoint applies all of your changes to all of the slides.
Click Slide 1 on the Slides tab.
Type 00:03 in the Automatically After text box. PowerPoint changes the timing for Slide 1.
Spell Check
PowerPoint checks your spelling as you type and displays
with a red wavy line under the misspelled word. You can right-click and then select the correct spelling from the list of offerings on the menu that appears or select Spelling to open the Spelling dialog box. If you need to, you can initiate a spell check anytime you like. To start a spell check, do one of the following:
Choose the Review tab and then click the Spelling button .
If the spell check finds a possible spelling error, the Spelling dialog box
opens with the spelling error highlighted. You can respond in several ways.
Do not change spelling.
Click Ignore.
Correct spelling.
Click the correct spelling in the Suggestions box.
Click Change.
Add to dictionary.
Click Add.
Word is correct. Do not change presentation.
Click Ignore All.
Word is incorrect. Change entire presentation.
Click Change All.
EXERCISE 3
Spell Check
Correct any spelling errors PowerPoint finds. If PowerPoint does not find any errors, the Spelling Check is Complete message box appears. Click OK.
Use the Outline and Slides Tabs
By default, the Outline and Slides tabs are located on the left side of your PowerPoint window. The Outline tab displays the text contained in your presentation. The Slides tab displays a thumbnail of all your slides.
click the thumbnail to view the slide in the Slide pane.
EXERCISE 4
Use the Outline and Slides Tabs
Choose the Slides tab to view thumbnails of your slides.
Choose the Outline tab to view the text of your presentation as an
Use Slide Sorter View
After you have created your PowerPoint slides, you can move, cut, copy,
paste, duplicate, navigate, and view them in Sorter view. To view the
slides in Sorter view, do one of the following:
Choose the View tab and then click the Slide Sorter button
in the Presentation Views group.
Click the Slide Sorter button
in the bottom-right corner of the PowerPoint window.
Slide Sorter View
Move to first slide.
Use Ctrl+Home.
Move to last slide.
Use Ctrl+End.
Move to next slide.
Use the right arrow.
Move to previous slide.
Use the left arrow.
Select a slide.
Single-click the slide.
Open a slide in Normal view.
Double-click the slide.
Select slides.
Select a single slide:
Click the slide you want to select.
Select multiple slides:
Hold down the Ctrl key.
Click the slides you want to select.
Delete a slide.
Select the slide or slides you want to delete.
Press the Delete key.
Select the slide or slides you
want to delete.
Choose the Home tab and then click the Delete button .
Copy a slide.
Select the slide.
Choose the Home tab.
Click the Copy button
in the Clipboard group.
Select the slide.
Press Ctrl+C.
Paste a slide.
Select the slide after which you want the new slide or slides
to appear.
Choose the Home tab.
Click the Paste button
in the Clipboard group.
Select the slide after which you want the&new&slide
or slides to appear.
Press Ctrl+V.
Cut a slide.
Select the slide or slides you
want to cut.
Choose the Home tab.
Click the Cut button
in the Clipboard group.
Select the slide or slides you want to cut.
Press Ctrl+X.
Move a slide.
Select the slide (or slides) you want to move.
Drag it to the new location.
Duplicate a slide.
Select the slide (or slides) you want to&duplicate.
Press Ctrl+D.
EXERCISE 5
Use Slide Sorter View
Choose the View tab.
Click Slide Sorter in the Presentation Views group.
Double-click a slide to view it in Normal view.
PowerPoint provides you with many printing options. You can print a
large view of your slides or you can print your slides as handouts with
1, 2, 3, 4, 6, or 9 slides per page. You can also print your Notes pages
or the Outline view of your slides.
Click the Microsoft Office button. A menu appears.
Choose Print.
Click Print Preview.
Click the down arrow next to the Print What field in the Page Setup group and then select what you would like to print. A preview appears onscreen.
Click the Print . The Print dialog box appears.
Click the down arrow next to the Color/Grayscale field to select whether you want your slides to print in color, grayscale,
or black and white. If you are using a black and white printer, choose
black and white. You will use less ink or toner.
EXERCISE 6
Print an Outline
Click the Microsoft Office button. A menu appears.
Choose Print.
Click Print Preview. The Print Preview tab appears.
Click the down arrow next to the Print What field in the Page Setup group and then select Outline View.
Click the Print button . The Print dialog box appears.
Click the down arrow next to the Color/Grayscale field to select whether you want your slides to print in color, grayscale,
or black and white. If you are using a black and white printer, choose
black and white. You will use less ink or toner.
Set the other print settings.
Click OK. Your outline prints.
Print Your Slides
Click the Microsoft Office button. A menu appears.
Choose Print.
Click Print Preview. The Print Preview tab appears.
Click the down arrow next to the Print What field in the Page Setup group and then select Slides.
Click the Print button . The Print dialog box appears.
Click the down arrow next to the Color/Grayscale field to select whether you want your slides to print in color, grayscale,
or black and white. If you are using a black and white printer, choose
black and white. You will use less ink or toner.
Set the other print settings.
Click OK. Your slides print.
Print Your Slides as a Handout
Click the Microsoft Office button. A menu appears.
Choose Print.
Click Print Preview. The Print Preview tab appears.
Click the down arrow next to the Print What field in the Page Setup group and then select Handouts (4 slides per page).
Click the Print button . The Print dialog box appears.
Click the down arrow next to the Color/Grayscale field to select whether you want your slides to print in color, grayscale,
or black and white. If you are using a black and white printer, choose
black and white. You will use less ink or toner.
Set the other print settings.
Click OK. Your handouts print.The drapery
Click on the arrow to launch the audio
The monument consists of a statue of a winged female figure – the messenger goddess Victory – and a base in the shape of the
of a ship, standing on a low pedestal.Overall, the work measures 5.57 m (18 feet 3 ins) in height. The statue, made of white
marble, stands 2.75 m (9 feet) tall, including the wings. The base (2.01 m, 6 feet 7 ins) and the pedestal (36 cm, 1 foot 2 ins) are sculpted from grey white-veined marble from the quarries of Lartos on the island of . The darker color contrasts with the white marble of the statue, although a patina has now formed over the whole surface of the monument.The Victory is wearing a long , or tunic, of fine cloth, that falls in folds to her feet. To shorten the skirts, the cloth is gathered by a belt, hidden by the folds which hang over the hips. The
is held in place by a second belt beneath the breasts.The garment’s flowing lines are portrayed with great virtuosity. The fabric over the stomach and the left thigh is shot over with wrinkles that seem to skim over the skin underneath. The light cloth is bunched in narrow folds on the figure’s sides, while the front of the left leg is carved with surface incisions to create an effect of light fabric drapery.The handling of the
is in striking contrast with the thick, deeply carved draped folds of the cloak or , which covers part of the . The sophisticated form of the folds of the cloak becomes clear when the outside and inside are highlighted in blue and red, following the folds of the cloth.The , worn wrapped in a roll round the waist, has worked loose at the figure’s left hip. A large gathering of folds have slipped between the figure’s legs, leaving the left hip and leg uncovered. The right hip and leg are covered to half-way down the calf. The cloak has swept open, with a fold of cloth streaming out behind the figure, so that we see the inside of the cloth. The unfastened cloak is held against the Victory’s body by the sheer force of the wind.
Winged Victory of Samothrace
circa 220-185 BC
Samothrace
Parian marble for the statue and gray Rhodian marble for the boat and base
total H. 5.57 m
Champoiseau expeditions of
Paris, Musée du Louvre, MA 2369
(C) Photo RMN / Gérard Blot / Hervé Lewandowski
Winged Victory of Samothrace
circa 220-185 BC
Samothrace
Parian marble for the statue and gray Rhodian marble for the boat and base
total H. 5.57 m
Champoiseau expeditions of
Paris, Musée du Louvre, MA 2369
(C) Erich Lessing
Winged Victory of Samothrace
circa 220-185 BC
Samothrace
Parian marble for the statue and gray Rhodian marble for the boat and base
total H. 5.57 m
Champoiseau expeditions of
Paris, Musée du Louvre, MA 2369
(C) Erich Lessing
Winged Victory of Samothrace
circa 220-185 BC
Samothrace
Parian marble for the statue and gray Rhodian marble for the boat and base
total H. 5.57 m
Champoiseau expeditions of
Paris, Musée du Louvre, MA 2369
(C) Erich Lessing
Winged Victory of Samothrace
circa 220-185 BC
Samothrace
Parian marble for the statue and gray Rhodian marble for the boat and base
total H. 5.57 m
Champoiseau expeditions of
Paris, Musée du Louvre, MA 2369
(C) Erich Lessing
Click on the arrow to launch the audio
The statue is best seen from a three-quarter left view, where the lines of composition are seen at their clearest: a long vertical line leading up the right leg to the top of the torso, and a slanting line leading up the left leg and thigh to the torso. The Victory’s figure is incorporated into a right-angled triangle encompassing the generous lines of the body, the folds of her garments, and the energy of her forward movement.The impressive size of the left-hand wing and its almost horizontal position add considerably to the dynamic feel of the composition. The frontal view is structured by the line of the right leg outlined by the fabric of the cloak, while the left leg is almost entirely hidden behind the folds of drapery. The hips and shoulders likewise are square to the viewer, and the torso is quite straight. The right shoulder and breast are slightly raised, indicating that the right arm was held aloft.Seen from the right side of the statue, the body is a slender, sinuous form. The sculpture is much plainer on this side, as the artist must have thought it was not worthwhile expending so much effort on a side rarely seen by onlookers. The back of the statue is quite plain, for the same reason.A number of fragments from the missing parts of the statue are very helpful clues in recreating the monument as it must once have looked. The right wing currently attached to the statue is a mirror-image cast of the left wing. Two surviving fragments from the original right wing indicate that it was raised higher, slanting upward and outward. A tiny fragment from the top of the right arm shows that the arm was raised slightly away from the figure’s side and was bent at the elbow. Small Victory figurines in terracotta found in Myrina in Turkey give a good idea of what the original pose might have been.It has been suggested that the Victory held a trumpet, a wreath, or a fillet in her right hand. However, the hand found in Samothrace in 1950 had an open palm and two outstretched fingers, suggesting that she was not holding anything and was simply holding her hand up in a gesture of greeting.The two feet, sculpted separately from the rest of the statue, have been lost. Their position has been recreated thanks to the shape of the surface where they would have been placed. The right foot was just alighting on the ship’s deck, while the left was still in the air. The Victory was not striding forward, but rather alighting on the ship, barely skimming the base.This drawing suggests what the original statue might have looked like. Only the position of the head, which doubtless looked straight ahead, and the left arm, probably down by the figure’s side, remain hypothetical.
Mold of the body in back view
circa 1875
Musée des Moulages de Versailles
(C) Musée du Louvre / P. Lebaube
Statuette: Victory
circa 190 BC
Gift of the French School in Athens
Paris, Musée du Louvre, Myr 171
(C) Photo RMN / Hervé Lewandowski
Statuette: Victory
circa 190 BC
Gift of the French School in Athens
Paris, Musée du Louvre, Myr 171
(C) Photo RMN / Hervé Lewandowski
O. Benndorf and K. von Zumbusch
Reconstruction of the Victory of Samothrace
A. Cordonnier ()
Reconstruction of the Victory of Samothrace
Location unknown
Right hand
Parian marble
L. 28 W. 17 cm
Paris, Musée du Louvre, Ma 2369 bis
(C) Musée du Louvre / Anne Chauvet
Right hand
Parian marble
L. 28 W. 17 cm
Paris, Musée du Louvre, Ma 2369 bis
(C) 2002 Musée du Louvre / Anne Chauvet
Place of the right foot
(C) Musée du Louvre / Anne Chauvet
Place of the left foot, back view of the statue
(C) Musée du Louvre / Anne Chauvet
Reconstruction of the statue
(C) Drawing by Valérie FORET, D.E.S.A. architect
The base in the form of a ship
Click on the arrow to launch the audio
saw numerous naval battles between the kingdoms inherited by the successors of
as they fought for control of the . Battle fleets were thus a vital military resource.The base of the Victory of Samothrace depicts the
of a battleship typical of a time which saw many new developments in naval architecture. The best-known of these developments was the invention of , which were wooden structures jutting out from the ship’s flanks. They were used to bear the weight of several tiers of longer, more powerful oars. The
on the base of the statue are particularly well preserved. On the outer side, you can even make out the oval openings used as , forming two unaligned rows.But the most important weapon on a Greek battleship was its great , attached to the , along with a smaller
higher on the . The
from the Samothrace base have been lost entirely. They would have been carved in stone, like those on the base of the naval monument in the
of Cyrene in Libya. A bronze
measuring 2.27 m (7 feet 4.5 ins) in length and weighing 465 kilograms (1,025 lbs) found off the coast of Israel shows what a terrible weapon this really was.The prow ornament, placed at the extremity of the
at the front of the ship, is likewise missing from the Victory of Samothrace, but coins and bas relief carvings from the period suggest what it might have looked like.This is what the base of the Victory must originally have looked like. The diagram shows the keel, the large
extending from the main wale, the smaller
extending from the
at the level of the upper wale, the
with the , the gunwale, the prow ornament, and the fighting deck.
Relief: battleship
3rd-2nd century BC
H. 37 W. 53 cm
Samothrace, sanctuary of the Great Gods
(C) 2004 Claude Rolley
Nile Mosaic (detail): battleship
early 1st century BC
Italy, Palestrina, Museo Barberiniano
(C) Fotografia Soprintendenza per i Beni Archeologici del Lazio
Naval monument
circa 250-240 BC?
Libya, Cyrene, agora
(C) A. Pasquier
Naval monument
circa 250-240 BC?
Libya, Cyrene, agora
(C) A. Pasquier
Battleship ram
first half of the 2nd century BC
Found off the coast of Israel at Atlit
Israel, Haifa, National Maritime Museum
(C) Israel Antiquities Authority
Tetradrachm (four drachma coin) showing Antigonus Doson
circa 227 BC
Paris, BNF, Cabinet des Médailles
(C) Photo Bibliothèque Nationale de France
Funerary stele
second half of the 2nd century BC
Turkey, Izmir (Smyrna), Archaeological Museum
The structure of the monument
Click on the arrow to launch the audio
The statue of the Victory of Samothrace consists of several blocks of marble, carved separately and then assembled. This technique, used by Greek sculptors for the head and other protruding parts of the statue as early as the , began to be used for the body itself in the .The statue thus consists of one large block from beneath the breasts to the feet, topped by a smaller block for the upper torso and head. The arms, wings, feet, and several pieces of the drapery were carved separately before the work as a whole was assembled.The wings, carved from two large marble slabs and attached to the back of the statue with no external support (the reinforcements are modern), created a tricky problem of balance. The sculptor solved the problem by carving the outer face of each wing in one tier and slotting them into a sort of console decorated with feathers sculpted at the back of the main block forming the body. Moreover, a slight downward slope in the horizontal surface on which the wings rested meant that their weight was borne by the body, so that two metal dowels were all it took to hold them in place. This remarkably ingenious solution meant that the sculptor was able to use
in a large marble work, although the technique was normally only possible in bronze.The base, made of 23 blocks of marble, demonstrates the same astonishing mastery of the laws of physics. On a rectangular base consisting of six adjoining slabs stand seventeen blocks, originally held together with metal pins, forming three horizontal , rising slightly towards the front. The
at the back consists of two adjacent blocks, the deck of three. The gap at the back of the top level was not part of the original work. It housed a large block weighing slightly over two metric tons, left in Samothrace, with a cavity into which the statue was slotted. When the block was in place, it acted as a counterbalance for the
extending from the sides of the ship.As can be seen, only a small part at the back of the long block forming the forepart of the keel rests on the pedestal, yet it remains stable and even bears the weight of the upper blocks. How is this possible? When the statue is fixed into position in the cavity, its center of gravity is directly over the short back part, weighing down on it with 2.5 to 3 metric tons of marble. This holds the front of the
up in the air. This complex system was designed to give the stone keel the natural appearance and dynamic forward thrust of a genuine wooden ship. The statue thus played an essential role in maintaining the balance of the work as a whole. It could not be shifted without the entire front of the ship collapsing.Now we have looked at the pose of the statue, the form of the ship as a whole, and the carefully designed relationship between the two, we can suggest how the monument might originally have looked. The statue and its base clearly belong together, and were obviously designed together as a single monument by a sculptor of great virtuosity, even genius.
Winged Victory of Samothrace
circa 220-185 BC
Samothrace
Parian marble for the statue and gray Rhodian marble for the boat and base
total H. 5.57 m
Champoiseau expeditions of
Paris, Musée du Louvre, MA 2369
(C) Photo RMN / Gérard Blot / Hervé Lewandowski
Winged Victory of Samothrace
circa 220-185 BC
Samothrace
Parian marble for the statue and gray Rhodian marble for the boat and base
total H. 5.57 m
Champoiseau expeditions of
Paris, Musée du Louvre, MA 2369
(C) 2008 Musée du Louvre / Cécile Dégremont
The blocks making up the base
Drawing by Valérie FORET, D.E.S.A. architect
Cross section at the rear
Drawing by Valérie FORET, D.E.S.A. architect
Back view of the base
(C) Musée du Louvre / Anne Chauvet
Block from the upper part of the base
Lartos marble
L. 165 W. 71 H. 61 cm
Samothrace, sanctuary of the Great Gods
(C) New York University / B. Wescoat
Winged Victory of Samothrace
circa 220-185 BC
Samothrace
Parian marble for the statue and gray Rhodian marble for the boat and base
total H. 5.57 m
Champoiseau expeditions of
Paris, Musée du Louvre, MA 2369
(C) 2008 Musée du Louvre / Cécile Dégremont
Diagram of the placement of the statue on the base
Drawing by Valérie FORET, D.E.S.A. architect
Relief: battleship
3rd-2nd century BC
H. 37 W. 53 cm
Samothrace, sanctuary of the Great Gods
(C) 2004 Claude Rolley
Reconstruction of the complete monument
Drawing by Valérie FORET, D.E.S.A. architect
The context
Discovery and restoration
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The island of Samothrace is located in the , off the coast of Thrace, in north-eastern Greece. The island is a tall mountain that rises above the waves. On its northern side, in a gully carved by a torrent at the foot of the mountain, is a very ancient sanctuary dedicated to the Great Gods or .In March 1863, , temporary French vice-consul in Adrianople – modern-day Edirne, in Turkey – set out to explore the ruins. He was a keen amateur archaeologist, and hoped to find some attractive relics for the imperial museum in Paris.On April 15, 1863, workers excavating the far end of the terrace overlooking the sanctuary to the west uncovered various parts of a large female statue. They continued digging to find the head and arms, but in vain. They did, however, find numerous small fragments of drapery and feathers, leading
to the correct conclusion that the statue represented the goddess Victory. He sent the statue and the fragments to France, where they arrived at the Louvre a year later, on May 11, 1864. After careful restoration work, the main block, consisting of the legs and lower torso, was put on display in 1866.Alongside the statue,
had discovered the ruins of a small building and a pile of large blocks of grey marble. He left them in place, thinking they were part of a tomb. In 1875, the architect of the Austrian archaeological mission working on the Samothrace sanctuary examined the blocks, producing drawings of them. He concluded that correctly assembled, they would form the
of a ship constituting the base for a statue. He thought of Greek coins he had seen dating from the reign of , depicting Victory standing on the
of a ship.
heard about this discovery in 1879, and set about having the blocks from the
sent to Paris, along with the slabs from the pedestal beneath. The first attempt to put the two parts together in the courtyard of the Louvre proved they were on the right track.Félix Ravaisson Mollien, the then curator in charge of Antiquities, considered recreating the complete monument, following the model suggested by the Austrian team. The main features of this were as follows: the right side of the marble torso was placed in position on the body, the left side and the belt were recreated in plaster. The left wing was put together from several marble fragments and strengthened at the back by a metal frame before being put in place. As only two fragments of the right wing survived, it was replaced by a mirror-image cast of the left wing. Only the head, arms, and feet were not remodeled. The statue was placed directly on the ship, whose blocks were shaped and the gaps filled. Neither the ornamentation on the
were recreated. The restoration work was completed in 1884.The monument was placed at the top of the recently completed Daru staircase, creating a spectacular visual effect. To heighten the visual impact yet further, a modern block was added between the statue and its base during renovations in 1934.
Map of Greece, 7th–1st centuries BC
(C) Musée du Louvre, documentation du département des AGER
Map of the island of Samothrace
(C) Collection QUID
The island of Samothrace
(C) Néguine Mathieux / Franck Kausch
Landscape on the island of Samothrace
(C) Néguine Mathieux / Franck Kausch
Charles Champoiseau in 1863
(C) Musée du Louvre, documentation du département des AGER
Fragments collected by Champoiseau with the Victory
Paris, Musée du Louvre, Ma4958, Ma4959A, Ma4959B, Ma4966, Ma4967
(C) Musée du Louvre / P. Lebaube
First presentation of the Victory at the Louvre in the Salle des Caryatides (1866)
Reconstruction of the &tomb& imagined by Champoiseau
Paris, Archives des Musées Nationaux
National Museum Archives
Drawing of the lower course blocks by the architect A. Hauser
(C) Humboldt-Universit?t zu Berlin, Winckelmann-Institut
Drawing of the oar box blocks by the architect A. Hauser
(C) Humboldt-Universit?t zu Berlin, Winckelmann-Institut
Tetradrachm (four drachma coin) of Demetrius Poliorcetes
301-292 BC
Paris, BNF, Cabinet des Médailles
(C) Photo Bibliothèque Nationale de France
First attempt at assembly in a courtyard at the Louvre (1879)
Archives, private coll.
O. Benndorf and K. von Zumbusch
A model of the Winged Victory of Samothrace
Berlin University
Parts restored in plaster
(C) Photo RMN / Colors by Guillaume Foret
Parts restored in plaster
(C) Photo RMN / Colors by Guillaume Foret
Parts restored in plaster
right side
(C) Photo RMN / Colors by Guillaume Foret
The restored monument, after 1884
(C) Musée du Louvre, documentation du département des AGER
The sanctuary
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The sanctuary of Samothrace, famed throughout Antiquity, consisted of a cluster of buildings dedicated to the worship of the Great Gods and ceremonial . Hordes of pilgrims, many from Greek cities in Asia Minor, came to be initiated into these mysterious rites.In the fourth century BC, the kings of
oversaw a program to enlarge and improve the religious buildings, which came to take up all the ground space in the heart of the sanctuary. The sanctuary thus had to be extended, and work began on the heights overlooking the site. A monumental entrance was built to the east. The top of the hill to the west was flattened to form a terrace and a long portico was built, surrounded by buildings and offerings dedicated by wealthy pilgrims.At the southern tip of the terrace, the side of the hill was hollowed out to house the statue of Victory, in the highest and most remote part of the shrine. The monument stood in a small building, of which only the foundations remain, protected by recently restored retaining walls but partly hidden under rocks from landslides. The building had three walls, opening at the front onto the terrace with its portico. Given the excellent state of preservation of the Victory’s marble surface, the building would certainly have had a roof. From the evidence of the foundations, the Victory was placed not perpendicular to the back wall of the building, but at a slight angle. Visitors arriving from the portico thus had a three-quarters left view of the monument.The monumental Victory was just one of the countless offerings made at the sanctuary. The Great Gods of Samothrace were invoked by initiates for protection in situations of danger, for example the threat of shipwreck or battle. A stele in , , dedicated to the
or Great Gods, depicts them as horsemen galloping across the heavens like the , accompanying a winged Victory bearing a wreath. She is bringing it for the man who dedicated the stele, shown at the bottom with his wife preparing a banquet in honor of the gods. So an offering representing a Victory on the
of a battleship is perfectly suited to the site. It was doubtless consecrated in thanks to the gods after a victorious naval battle. Unfortunately, the excavations have not uncovered the dedicatory inscription, which would tell us the circumstances whereby the monument was built, the name of the donor, and maybe even the identity of the sculptor.
Aerial view of the sanctuary of the Great Gods
(C) New York University / J. Kurtisch
View of the Hieron from the Winged Victory building
(C) Marsyas
Overall layout of the sanctuary
(C) New York University / J. Kurtisch
Ruins of the Winged Victory building
(R) 1992, California State University Northridge, Pr John Paul Adams
Votive stele dedicated to the Great Gods
2nd century BC
H. 63.5 cm
Heuzey and Daumet expedition
Paris, Musée du Louvre, MA 746
(C) 2008 Musée du Louvre / P. Lebaube
Votive stele dedicated to the Great Gods (detail)
2nd century BC
H. 63.5 cm
Heuzey and Daumet expedition
Paris, Musée du Louvre, MA 746
(C) 2008 Musée du Louvre / P. Lebaube
Provenance and dating
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No statues produced anywhere throughout the Greek world during the
bear comparison with the Victory of Samothrace. Only the drapery effects on the goddesses in the
pediments are comparable, as if, two and a half centuries later, the sculptor wanted to test his skill against the great masters of
sculpture from the fifth century BC.One thing we do know is that the technique of sculpting the body in several blocks prior to assembly was used above all in the workshops of Asia Minor, the Dodecanese, and the Cyclades.The Victory’s base was certainly produced in , where a number of workshops specialized in carving bases from Lartos marble. Some experts have thus concluded that the statue as a whole was made in
and that the work was an offering by the people of
to the sanctuary in Samothrace. However, there is no clear evidence that the statue, like the base, was sculpted on , as the virtuoso handling of the drapery certainly called for more skill than would have been found in the type of workshops that produced the base. Sculptures from the highly productive workshops of Pergamon, capital of the , in Asia Minor, offer a better comparison. The Great
in particular is close in style to the Victory of Samothrace, especially the Gigantomachy frieze decorating the base. Hundreds of gods, goddesses, and monstrous giants, carved in very , do battle across the panels. The vigor of the bodies, the emphatic poses, and the scene’s remarkable energy create a striking connection between the frieze and the statue, and it is possible that both exceptional monuments were the work of a single artist, whose name, unfortunately, has not survived.Nor is the date of consecration of the Victory of Samothrace, or the naval battle the statue commemorates, known. The eastern Mediterranean saw many battles between rival fleets following the accession of
in 221 BC. Philip’s defeat in 197 BC and the humiliating defeat of the ruler of
at the hands of the Pergamon forces in 189 BC led to the end of such naval battles. After that, there were no further battles of the sort commemorated by the Victory of Samothrace for many years. It thus seems likely that the sculptor worked on the Victory in Samothrace between 220 and 185 BC, before beginning work on the Great
of Pergamon.
Iris, statue from the west pediment of the Parthenon
442-432 BC
Acropolis of Athens
London, British Museum
(C) Erich Lessing
Artemis, statue from the east pediment of the Parthenon
442-432 BC
Acropolis of Athens
London, British Museum
(C) The Trustees of The British Museum
Map of Greece in 7th–1st century BC
(C) Musée du Louvre, documentation du département des AGER
Base in the shape of a ship's prow, three-quarter view
circa 265-260 BC
Lartos marble
Lindos, island of Rhodes, sanctuary of Athena
(C) 22nd Ephoreia of Prehistoric and Classical Antiquities, Rhodes
Relief showing the stern of a ship
circa 200 BC
Lindos, island of Rhodes, sanctuary of Athena
Statue of a woman with a sword
200-150 BC
Berlin, Pergamonmuseum, Antikensammlung
The Great Altar of Pergamon
2nd century BC
Acropolis of Pergamon
Berlin, Pergamonmuseum, Antikensammlung
BPK, Berlin, Dist RMN / Johannes Laurentius
Athena fighting the giant Alkyoneus
Great Altar, east frieze
2nd century BC
Acropolis of Pergamon
Berlin, Pergamonmuseum, Antikensammlung
BPK, Berlin, Dist RMN / Johannes Laurentius
Triton and Amphitrite
Great Altar, west frieze
2nd century BC
Acropolis of Pergamon
Berlin, Pergamonmuseum, Antikensammlung
BPK, Berlin, Dist RMN / Johannes Laurentius
Phoebe and Asteria
Great Altar, south frieze (detail)
2nd century BC
Acropolis of Pergamon
Berlin, Pergamonmuseum, Antikensammlung
BPK, Berlin, Dist RMN / Johannes Laurentius
Athena fighting the giant Alkyoneus (detail)
Great Altar, east frieze (detail)
2nd century BC
Acropolis of Pergamon
Berlin, Pergamonmuseum, Antikensammlung
BPK, Berlin, Dist RMN / Johannes Laurentius
Amphitrite
Great Altar, west frieze (detail)
2nd century BC
Acropolis of Pergamon
Berlin, Pergamonmuseum, Antikensammlung
BPK, Berlin, Dist RMN / Johannes Laurentius
Triton and a Giant
Great Altar, west frieze (detail)
2nd century BC
Acropolis of Pergamon
Berlin, Pergamonmuseum, Antikensammlung
BPK, Berlin, Dist RMN / Johannes Laurentius
Victories and Angels
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The Greeks represented concepts such as Peace, Fortune, Vengeance, and Justice as goddesses at a very early date. Victory was one of the earliest of these incarnations. She is a female figure with large wings that enable her to fly over the earth spreading news of victory, whether in athletic competition or in battle. She is a messenger (angelos in Greek) who sometimes uses a trumpet to make her message better heard. As she flies, she brings the victor the insignia of victory – a crown, fillet, palm, trophy of arms, or naval trophy. Once back on earth, she takes part in the
or sacrifice made by the victor to thank the gods.Victory is an extremely decorative figure who appeared widely in Greek art from the
(sixth century BC) onwards. She is found in a multiplicity of forms – statues, reliefs, vessels, coins, and terracotta or bronze figurines. Such figures followed the stylistic evolution of Greek art, undergoing constant development. As the Victory of Samothrace shows, the figure still featured in spectacular works of art in the .The Romans discovered the goddess Victory when they conquered the Greek world. They immediately adopted and adapted her as a symbol of Rome’s domination of the known world (orbi), an incarnation of imperial power, and an emblem of the virtue of the Roman people. She is shown standing on a globe, crowning the emperor and holding a shield inscribed with the glory of Rome. Yet her appearance was still that most commonly found in Greek art – she was depicted standing, wearing a woman’s
belted under the breasts, with a fold hanging down to the hips.With the advent of Christianity came God’s messengers or angels. Angels holding globes and crosses stood close to God as representations of his power and glory. However, although angels owed part of their role to Greek and Roman representations of Victory, their image was rather different. Early Christian depictions of angels show them with a
and dressed in male garb typical of Antiquity – a long, wide-sleeved tunic covered with a pallium, or long cloak, worn draped diagonally across the chest or thrown over the shoulders. They were winged messengers who came down from heaven to announce God’s will to mankind. Angels only began to wear female garments in the late medieval period, when the draped cloak was no more than a small drapery worn like a shawl and the tunic became an elegant tight-sleeved gown with a high waist. The artistic popularity of antique models during the Italian
meant that angels began to resemble female Victories, although the Christian context leaves no doubt as to their identity.
Applied figure of Nike (Victory)
circa 375-350 BC
H. 12.3 cm
Paris, Musée du Louvre, Br1679
(C) Photo RMN / Hervé Lewandowski
Tetradrachm (four drachma coin) of Demetrius Poliorcetes
301-292 BC
Paris, BNF, Cabinet des Médailles
(C) Photo Bibliothèque Nationale de France
Attic red-figure amphora, attributed to Douris
circa 490-480 BC
H. 32.3 cm
Paris, Musée du Louvre, S 3853
(C) 2008 Musée du Louvre / Sophie Marmois
Paionios of Mende
Statue: Nike (Victory)
circa 420 BC
Parian marble
Greece, Olympia Museum
Statuette: Nike (Victory)
circa 175-150 BC
French School in Athens devolution
Paris, Musée du Louvre, Myr 165
(C) Photo RMN / Hervé Lewandowski
Marcus Aurelius in his triumphal chariot: relief from the Arch of Marcus Aurelius
176-180 AD
Rome, Palazzo dei Conservatori, MC 0808
(C) Erich Lessing
Roman lamp (Victory)
2nd century BC
Terracotta
Diam. 10 cm
Paris, Musée du Louvre, CP 4409
(C) Photo RMN / All rights reserved
Archangel Gabriel
6-7th century AD
Kitio (Cyprus), Palagia Aggeloktisti monastery
The Judgment of the Nations (detail)
early 6th century AD
Ravenna, Basilica of Sant'Apollinare Nuovo, upper register of the nave
(C) 1990. Photo Scala, Florence - courtesy of the Ministero Beni e Att. Culturali
Carlo Braccesco
Triptych, central panel: The Annunciation
circa 1490 - 1500
Painting on wood
H. 1.58 W. 1.07 m
Paris, Musée du Louvre, INV 1410
(C) Photo RMN / Jean-Gilles Berizzi
Guido di Pietro, known as Fra Angelico
The Annunciation
15th century
H. 2.30 W. 3.21 m
Italy, Florence, Museo di San Marco,
Alinari Archives, Florence, Dist RMN / Nicolo Orsi Battaglini
Sandro Botticelli
The Annunciation
15th century
H. 1.50 W. 1.56 m
Italy, Florence, Galleria degli Uffizi
(C) Photo RMN / Agence Bulloz
Andreas Schlüter
Sculpted pulpit
Berlin, Marienkirche
(C) 2008 Valérie Foret}