1 10 51 https://classicalchopped2.artinterp.org/omeka/files/original/7d48d30b7fc301fd41b59a759370c956.jpg cc141c1bf42b8d057d12257118c2f2b9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Akhenaten and Nefertiti Stele Date A point or period of time associated with an event in the lifecycle of the resource 18th Dynasty (New Kingdom), ca. 1345 BCE Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Limestone Format The file format, physical medium, or dimensions of the resource 33.5 cm tall Source A related resource from which the described resource is derived Egypt, Amarna, a private residence Rights Holder A person or organization owning or managing rights over the resource. Staatliche Museum zu Berlin, Ägyptisches Abteilung, Berlin, Germany Contributor An entity responsible for making contributions to the resource Jonathan Clark Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Akhenaten, originally Amenhotep IV, was son of the pharaoh, Amenhotep III, and the father of Tutankhamun. During his reign as pharaoh in the 18th Dynasty (ca. 1350-1336 BCE), he instituted a religious and artistic overhaul. His new religion shifted worship from the pantheon of Egyptian gods to the worship of Aten, the sun disc. The royal family, too, was revered for the unique ability to access Aten. Even so, after his death, the Egyptians restored their original religion, and abandoned the worship of Aten. After his death, his successors defaced and destroyed many of his portraits. Description An account of the resource Description: This stele is emblematic of Amarna period art: the figures are portrayed with elongated skulls, thin necks, slim arms, distended bellies, and spindly calves. Akhenaten is seated on the left; Nefertiti, on the right. Akhenaten and Nefertiti wear some traditional markers of Egyptian power: particularly their crowns and the uraeus found on each. Akhenaten lacks the traditional false beard or nemes, headdress in this scene though. In addition to the royal couple, three of their daughters are present as well, playfully interacting with their parents. Akhenaten tenderly lifts one daughter up to give her a kiss, while Nefertiti holds two daughters: one on her lap, and another on her shoulder. At the top of the panel, the god Aten is represented as the sun disc. From the disc, Aten emits rays of light with ankhs, the life symbol, at their ends. Significance: This stele presents the royal family in an intimate, private setting. At the same time, the stele is steeped with religious symbolism, and is intended to facilitate the transition from traditional Egyptian religion to Akhenaten’s own. Given the domestic context of this piece, it would have been in the hands of a high-class citizen, rather than Akhenaten or Nefertiti themselves. The pharaoh Akhenaten and Nefertiti are portrayed together in relaxed poses, showing tender affection to their daughters. This likely would have an endearing affect on their intended audience, yet at the same time, the stele reinforces the importance of the royal family, not only as leaders, but as the living connection to the god, Aten. It is only through Akhenaten that the god can be accessed, which has led to speculation that the Amarna revolution may have in response to the increasingly powerful high priests within Egyptian society. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Breckenridge, James D. 1968. Likeness; a Conceptual History of Ancient Portraiture. Evanston Ill: Northwestern University Press. 59-61. Wildung, Dietrich, Fabian Reiter, Olivia Zorn, and Ägyptisches Museum (Staatliche Museen zu Berlin). 2010. Egyptian Museum and Papyrus Collection, Berlin : 100 Masterpieces. London: Scala. 81-83. https://classicalchopped2.artinterp.org/omeka/files/original/27959553191919e1eb7f06166741d79e.jpg 1613093468820a679fa03d485b207008 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Colossal Head of Constantine Date A point or period of time associated with an event in the lifecycle of the resource ca. AD 312-315 Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. marble (and wood) Format The file format, physical medium, or dimensions of the resource 260 cm Source A related resource from which the described resource is derived Italy, Rome, Basilica of Maxentius Rights Holder A person or organization owning or managing rights over the resource. Musei Capitolini, Rome, Italy References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Kleiner, D. E.E. 1994. Roman Sculpture, New Haven. pgs 431-445. http://www.museicapitolini.org/en/percorsi/percorsi_per_sale/museo_del_palazzo_dei_conservatori/cortile/statua_colossale_di_costantino_testa Contributor An entity responsible for making contributions to the resource Nina Cardillo Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. This is the head of Constantine, one of the emperors of Rome. He is the son of Constantius, an Augustus of Rome in the western part of the empire. When Constantius dies Constantine becomes a Caesar in the western part of the empire. After much infighting with Maxentius and Licinius, Constantine defeats them both and becomes the sole Augustus in AD 324. One of the acts that Constantine is most well known for is his conversation to Christianity and granting religious freedom to Christians through the Edict of Milan in AD 313. Description An account of the resource Description- The Colossal Head of Constantine is a piece of a much larger seated statue of Constantine, though only some of the pieces remain including a hand, part of an arm, both feet, a piece of the body, and a leg. The state is massive, the head itself is taller than an average size person. Because it is so large it was made of both stone and wood in order to be supported. The bust is jagged at the base of the neck where it would have been attached to the rest of the body; there is a crack on the neck right below the chin as well. The face is smooth and youthful with slightly parted lips and his gaze looking upward, a nod to the portraits of Alexander the Great. There are slight bags under his eyes and a line across his forehead. The hair is carved short but with curved locks. The left ear has some damage as well as the left eye. Significance- This portrait would have originally been seen in the apse of the Basilica of Maxentius. Reconstructions of the statue suggest that Constantine was seated and dressed like Zeus, legitimatizing his power as the sole ruler of Rome. This is an interesting suggestion given Constantine's conversion to Christianity. Some suggest that he was really trying to connect to the Christian God. https://classicalchopped2.artinterp.org/omeka/files/original/7691373761d1280bfbaabd1068dbeef5.jpg 1baa0a1c09ee36f2277ed5c20726435d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource BM Head of Alexander the Great Date A point or period of time associated with an event in the lifecycle of the resource late 2nd century BC, Hellenistic Medium The material or physical carrier of the resource. marble Format The file format, physical medium, or dimensions of the resource 37 cm Source A related resource from which the described resource is derived Egypt, Lower Egypt, Nile Delta, Alexandria Rights Holder A person or organization owning or managing rights over the resource. British Museum Creator An entity primarily responsible for making the resource Unknown Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. This is a bust of Alexander III of Greece, more commonly known as Alexander the Great. He was born in 356 BC and is the son of Philip II of Macedon and Olympias. Both of his parents were considered descendants of Greek gods or heroes and thus Alexander has godly ancestors. He was taught by Greek tutors and philosophers including Aristotle. In 334 BC he become the leader of the League of Corinth and he led the army on an extensive campaign throughout Greece, Persia, and Asia Minor. During his campaign he was very successful in battles against the Persians and others becoming well known across Asia Minor and into Egypt as well. One of the legacies of his campaign are the numerous cities named "Alexandria" across the area. He died while on campaign in Babylon when he was only 33 years old. Description An account of the resource Description- This is a bust of Alexander the Great done in the Lysippan style. He has a smooth, youthful face with parted lips and a "melting" glance in the eyes. He has long hair pushed out of his face and up above his forehead in the anastole or cowlick style. Even though we cannot see the rest of his body we can tell that there is a dynamic twist of the head and his gazed is turned upward. While the front of the bust looks mostly clean cut the back does not appear to be completely finished or has been damaged over time. There is no modeling for hair on the back It is believed that the bust may have been attached to a separate body. One can infer that they body was probably a youthful, godlike figure. Significance- This bust is important first and foremost because of the success and power of Alexander the Great. If he had just been another mediocre, or inadequate, leader then there would not be as much emphasis put on his portraits. Portraits of Alexander are also important because he was very concerned with his image and therefore had a team of artists that could depict his likeness, sort of like a PR committee. His sculptor was Lysippos, whose style was copied in this posthumous portrait of Alexander. Alexander wanted to be shown as a divine hero for Greece and all of his portraits show him looking the same way even as he aged. This does not seem that strange to us at first because when we think of portraits today we think of photographs that show someone exactly as they are. However we also see age today and we do not know for sure if these pictures are exactly what Alexander looked like or how he wanted people to think he looked. It is consistent with how he was described in writing from the time period. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Pollitt, J.J. 1986. Art in the Hellenistic Age, Cambridge. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?assetId=1612920373&objectId=460442&partId=1 Contributor An entity responsible for making contributions to the resource Nina Cardillo https://classicalchopped2.artinterp.org/omeka/files/original/021081aa4f3526329869ae3e6d372f2c.png a924f41d596e7fcba7dab6dfd1ebb77e Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Rahotep and Nofret Date A point or period of time associated with an event in the lifecycle of the resource 4th Dynasty (Old Kingdom), ca. 2620 BCE Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. painted limestone Format The file format, physical medium, or dimensions of the resource 120 cm tall Source A related resource from which the described resource is derived Egypt, Meidum, Mastaba of Rahotep Rights Holder A person or organization owning or managing rights over the resource. Egyptian Museum at Cairo, Egypt Contributor An entity responsible for making contributions to the resource Lauren Kershenbaum Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Although the lineages of Rahotep and Nofret are disputed, the discovery of their statues in a brick mastaba in Meidum, confirm the sitters’ high rank. It is believed that Rahotep was was the son of Snofru, the founder of the 4th Dynasty, due to his title as “physical son of the king.” However, some scholars believe that Rahotep’s father was actually Huni, the last king of the 3rd Dynasty. It is also argued that the title, “physical son of the king,” was purely honorific due to Rahotep’s rank as a high official; he served in several offices in the civil administration, in priesthood, and in the military during his life. Rahotep was married to Nofret and her title as “known to the king” indicates her status through her marriage to Rahotep. Description An account of the resource Description: The under life-size statues of Rahotep and Nofret depict the couple seated in high-backed chairs with footrests. Rahotep is represented with short black hair and a mustache. He wears a short white kilt and an amulet around his neck. His right arm is held across his bare chest, while his left arm is bent by his side with the fist rested on the knee. Nofret wears a dark, shoulder-length wig decorated with a circlet covered in a flower motif. She is enfolded in a long, white gown and wears an elaborate collar around her neck. Her arms are folded across her chest within the garment. Rahotep is painted a reddish-brown color, while Nofret is shown a lighter color. Both portraits contain lifelike inlaid eyes of crystal and their titles are painted, rather than incised, on the backs of their chairs. Significance: The portraits of Rahotep and Nofret contain more personal details than most portraits of the Old Kingdom. Rahotep appears to be frowning slightly and he has a mustache, giving the impression that these statues were intended as idealized portraits. The sitters are also portrayed in a youthful manner, furthering the idealized nature. Additionally, the adornments shown on both figures convey a flexibility that could only be present in non-royal portraiture of the time.The skin tones presented are in line with traditional conventions of Egyptian portraiture; the darker color of Rahotep’s skin is meant to signify strength, while the Nofret’s lighter color suggests a feminine delicateness. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. www.ancient-egypt.org/who-is-who/r/rahotep-and-nofret.html www.egyptorigins.org/rahotepandnofret.htm https://classicalchopped2.artinterp.org/omeka/files/original/7a8597b0ab6bdfb8e0415c70e177657d.jpg dc36030ffad94c67a1fb815dc42cfbc6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Aged Marcus Aurelius Date A point or period of time associated with an event in the lifecycle of the resource Roman imperial Antonine, c. 180 CE Creator An entity primarily responsible for making the resource unknown Medium The material or physical carrier of the resource. marble Source A related resource from which the described resource is derived House of the Vestals, Roman Forum, Rome, Italy Rights Holder A person or organization owning or managing rights over the resource. Museo Nazionale delle Terme, Rome, Italy Description An account of the resource Description: Statue is a life-sized bust (only head is original) of the philosopher-emperor. Marcus is wearing the full beard that features in all his adult imperial portraits. The hair is thick and curly, swept up from his forehead. There is slight hint of a "widow's peak" at the crown. The expression is sombre, with downcast, fully incised eyes and heavy eyelids The forehead is lined and overall face appears middle-aged. Significance: This portrait bust conforms to "Type 4" of the bearded mature Marcus Aurleius. It marks a return to Roman verism, which excelled at purely mimetic depictions of old age, but with added psychological depth. The age of the portrait appears to match the age of Marcus Aurelius at the time (around 59 years old). The downcast look and unfocused gaze gives the subject an introspective, almost haunted expression that is outstanding in Roman portrait sculpture. Here is a definitive portrait of Marcus Aurlieus as "philosopher king"--the stoic sage contemplating the future of the state from the vantage point of his advanced years and philospical detachment. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Bouzek, Jan. "Artistic and Literary Portraits as Expressions of Changing State of Mind," Roman Portraits Artistic and Literary Acts of the Third International Conference on the Roman Portrait, Verlag Philipp von Zabern, 1989, pp. 101-103. Fittschen, Klaus and Paul Zanker. Katalog der romischen Portrats in den Capitolischen Museen und den anderen kommunalen Sammlungen der Stadt Rom. Band 1, Verlag Philipp von Zabern, 1985, pp. 68-72. Kleiner, Diana. Roman Sculpture, Yale University Press, 1992, pp.271-3. Contributor An entity responsible for making contributions to the resource Mark Weadon Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Marcus Aurelius (b. 121 d. 180 CE) was co-emperor of Rome, with Lucius Verus, from 160-169 CE, and sole emperor from 169-180 CE, succeeding his adoptive father, Antoninus Pius. He was also a philosopher of some renown, writing the Meditations, a statement of his Stoic philosophy. Marcus Aurelius died of natural causes on a military campaign against Germanic tribes, and was succeeded as emperor by his son Commodus. Format The file format, physical medium, or dimensions of the resource 35cm tall (estimated) https://classicalchopped2.artinterp.org/omeka/files/original/7819169fc1be7a2e78b620f5db6bc71c.png 0ae0ead64bd376d3260c3bd5adf9717a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The "European" Date A point or period of time associated with an event in the lifecycle of the resource Hadrianic, ca. 117-138 AD Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Encaustic and gilt on cedar Format The file format, physical medium, or dimensions of the resource 42 cm tall Source A related resource from which the described resource is derived Egypt, Antinoopolis Rights Holder A person or organization owning or managing rights over the resource. Louvre Museum, Paris, France Contributor An entity responsible for making contributions to the resource Lauren Kershenbaum Description An account of the resource Description: This mummy portrait depicts a young woman using the encaustic technique. The shape of the panel mimics the sensitively rendered portrait as it is narrow at the head and wider at the shoulders. The woman’s face, with its light, pearly complexion, rosy cheeks, and dark eyebrows and eyelashes, is characterized by large, slightly lowered eyes that gaze rightward instead of forward at the viewer. Her dark hair is drawn back from her face and braided at the crown of her head; the braid is fastened with a carefully painted spherical, gold hairpin. The young woman is wearing a red-purple mantle and elaborate jewelry that consists of a large oval brooch at her breast, pearl earrings that contain a dark-colored stone, and a pearl necklace, hidden by the gold leaf bib that covers her neck and upper bust. There are also a series of white parallel lines that appear throughout the lower part of the composition, signaling repairs. Significance: During the Roman period, mummification technique declined and it became more necessary for a substitute likeness for the deceased to be provided. Thus, bust-length painted portraits were created to help the deceased achieve immortality. Therefore, the practice of incorporating the bust style of painting into funerary tradition is a Roman import of Egyptian tradition and was translated into local custom in the mummy portraits. Many mummy portraits, including “The European,” are depicted with Roman hairstyles, jewelry, and clothing that was fashionable at the time. Each individual represented in a mummy portrait is shown at their best. The panel of this particular mummy portrait has been cut down to the shape characteristic of mummy portraits from Antinoopolis. It was dubbed “The European” due to the sitter’s pale complexion. Though the use of gold leaf was often added for funerary purposes, its application in the neck area is unique and suggests that this portrait was commissioned by the local elite. The gilding in the jewelry and around the collar would have been added after the painting process itself was completed. Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Sitter unknown References A related resource that is referenced, cited, or otherwise pointed to by the described resource. <div class="textLayer--absolute">Doxiades, E. 2000. The Mysterious Fayum Portraits: Faces from Ancient Egypt, London, p.213. <div class="textLayer--absolute">Walker, S. (ed). 2000. Ancient Faces: Mummy Portraits from Roman Egypt, New York, pp.14-31. </div> www.louvre.fr/en/oeuvre-notices/portrait-woman-known-l-europeenne <div>www.museumlab.eu/exhibition/06/about.html</div> </div> https://classicalchopped2.artinterp.org/omeka/files/original/56c1e02e84d5e6f60ffca32b36afa37c.jpg da4475e3223f60ba3613bed0fdbf6491 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Tetrarch Pair Date A point or period of time associated with an event in the lifecycle of the resource 305 BC Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Egyptian Porphyry Format The file format, physical medium, or dimensions of the resource 4'3" tall Source A related resource from which the described resource is derived Constantinople (Istanbul), Philadelphion (possibly) Rights Holder A person or organization owning or managing rights over the resource. St. Marks, Venice, Italy References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Trentinella, Rosemarie. “Roman Portrait Sculpture: The Stylistic Cycle.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/ropo2/hd_ropo2.htm (October 2003) "Portraits of the Four Tetrarchs." Khan Academy, www.khanacademy.org/humanities/ancient-art-civilizations/roman/late-empire/v/tetrarchs. Contributor An entity responsible for making contributions to the resource Anna Nielsen Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The Roman Empire was ruled by a tetrarchy starting in 293, consisting of two Augusti (senior emperors) and two Caesars (junior emperors). The empire was divided into two territories, Western and Eastern and each was ruled by one Augustus and one Caesar. This statues figures features Diocletian and Maximian as Augusti and Galerius and Julius Constantius as Caesars. Description An account of the resource Description: The statue features four figures, all very stout and bulky. The figures are very block like, differing from the previous idealized Greco-Roman works. The figures are stiff and ridged, with a simply cut linear form that is strictly decorative. There is drapery on the figures, but it does not reveal the structure of the body. The figures are all dressed in armor and all four figures hold a great sword with an eagle hilt. The faces of the figures are repetitive, and only differ in facial hair. The eyes are trancelike and are carved rigidly. The figures proportions are not naturalistic. The heads are proportioned incorrectly and sit on top of narrow bodies. There are two pairs of figures, the figure with the beard holding the other figure in an embrace. The figures are turned in towards one another. The statue is very well preserved, the only piece missing is a left foot and part of the ankle of the extreme right figure. All four figures are carved out of one piece of stone. Significance: The word tetrarchy comes from the Greek tetrarchia or "leadership of four". It describes a form of government where power is divided among 4 rulers. The figures are identified as the members of the first tetrarchy established in 293 by Diocletian and Maximian as "Augusti" and Galerius and Julius Constantius as "Caesars". The tetrarchy lasted until 313 and divided the empire in two. Power was shared in this system and the public image portrayed unity among the empire. The tetrarchs appeared identical in all official portraits, with only a beard distinguishing the Augustus from the Caesar. They are all shown in military garb. The group, divided into two pairs are embracing, uniting the Augusti and Caesars. This suggests unity and stability. The material, porphyry (coming from Egypt), symbolizes permanence and rigidity. This implies expected eternity. This was a rare and difficult to obtain material, and was reserved for imperial use. The style of this piece is extremely geometric and symmetrical, styles utilized by the tetrarchs to oppose the previous individualized styles. This new style expresses valor, harmony and unification. This was an attempt to settle the fears of anxieties born from the civil strife of the short-lived previous emperors. Their image, far from individualistic, is a manufactured representation of the revolutionary political system. In the bodies of the sculptures, we lose the concept of contrapposto and the understanding of musculature. There is a rejection of the naturalism that had come before. This loss of detail could be because of the stones density, or the purposeful stray from the prior styles. https://classicalchopped2.artinterp.org/omeka/files/original/04aaa8c680199afd43a70279c09eb284.jpg d967673cc3acf0d2405d19a258c3c575 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Severan Family Tondo Date A point or period of time associated with an event in the lifecycle of the resource c. 200 CE, Severan Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Wood, tempera paint Format The file format, physical medium, or dimensions of the resource Diameter: 30.5 cm Source A related resource from which the described resource is derived Egypt Rights Holder A person or organization owning or managing rights over the resource. Staatliche Museum, Berlin, Germany Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Septimius Severus (145-211 CE) was a Roman general from Libya who became emperor of Rome in 193, after defeating rival claimants to the throne. He, along with his second wife, Julia Domna (160-217), established the Severan Dynasty of Roman emperors. Their two sons, Caracalla (188-217) and Geta (189-211), became co-rulers after Severus died, and after Geta was murdered, Caracalla became sole emperor. Caracalla became infamous for his despotic rule, and was murdered in 217. Contributor An entity responsible for making contributions to the resource Edward Borders Description An account of the resource Description: This tondo depicts Julia Domna, Caracalla, and Septimius Severus, three of the four members of the Severan dynasty of the Roman Empire. Their other son, Geta, was at one point also depicted on this tondo, but his face has been scrubbed out; the outline of his golden wreath can be seen around his destroyed face, and his neck, shoulders, and upper torso still remain. Julia Domna and Severus form the back row of the tondo, while the children Caracalla and Geta stand in the foreground. All four members of the family seem to be wearing the same clothing, with slight variations: every white garment includes two bands running down each shoulder down their respective arms, and a band across their collarbones, which, together with two more bands which begin at the shoulders and slope inwards towards their navels, forming an upside down triangle. The shoulders of Geta's garment are a deep maroon, matching the bands on his mother's robe, while every other vestment is white except for the bands of color. The bands on Geta's, Caracalla's, and Septimius Severus' drapery are gold, rather than maroon, and Caracalla and Geta have a downward-facing golden crescent on their garments as well, in the center of the “triangle”. Severus and his sons are also wearing the same golden wreaths, which have three precious stones in them; a crimson stone at the center of the wreath, and one white stone above each ear. All three of them hold white scepters which are topped with some golden ornamentation, but because of the damage to the tondo, it is difficult to discern what exactly lies at the top of the scepters. Julia Domna, standing in the back row on the left side of the tondo, is the only member of the family who is looking directly at the viewer, while Caracalla and Severus, forming the right column of the tondo, are looking off to their right, with their heads turned slightly upward. Between her thinner, brown-pupiled, eyes rests a short and thin nose, leading down to a small, yet warm smile that all of the members of the Severan family are giving to the viewer. Julia Domna is also wearing a pearl necklace and has an earring with three pearls on it on each ear, and her hair is braided into horizontal rows that run from her neck to the top of her head, on which rests a small crown with pearls on it. Caracalla's hair is brown, short, and curly, and like Julia Domna, he has a short, thin nose, but his eyes are rounder and shorter, like his father's. While Julia Domna, Caracalla, and the neck of Geta have a pale skin tone, Septimius Severus has a tanned complexion. His hair, both on top of his head and on his beard, has strands of both brown and gray. In spite of this, however, he has a rather youthful countenance, matching his wife and his son. His beard is kept trimmed, except for curls that lie below his chin. Significance: This tondo represents an example of one of the most enduring trends in portraiture, extending from pharaonic Egypt through the Roman Empire: destroying artwork in order to promote a political agenda. In Egypt and in Rome, if a pharaoh or emperor was deemed to be dishonorable or to have brought misfortune to the state, their memory was expunged, both by chiseling out inscriptions, and by defacing and changing existing portraiture. In Egypt, two of the most prominent pharaohs who received this treatment were Akhenaten and Hatshepsut, and in Rome it was a fate that befell emperors, including Caligula, Nero, and Domitian, but also non-emperors, including Sejanus, prefect of Tiberius' Praetorian Guard. A modern term for this phenomenon in the Roman world is called damnatio memoriae. In this tondo, it is assumed that the young man with his face erased represents Geta, the brother of Caracalla whom Caracalla despised, had murdered, and issued a damnatio memoriae against. Similarly, Geta's name was removed from the Arch of Septimius Severus in Rome after he was assassinated. This tondo is also representative of contemporary painted portrait art in the Greco-Roman world. Various ancient authors view painting as the highest form of artistry in the Greco-Roman world, but unfortunately, the large majority of these paintings did not survive to the modern day. However, many of our surviving examples of this type of portraiture come from Egypt, where the dry climate preserved wooden objects, including mummy masks and this tondo. In fact, this tondo is the only extant painted representation of a Roman emperor. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Kleiner, D. E. E. 1994. Roman Sculpture, New Haven. pp. 321-322. Walker, S. (ed). 2000. Ancient Faces: Mummy Portraits from Roman Egypt, New York. pp. 14-25. http://www.smb-digital.de/eMuseumPlus?service=ExternalInterface&module=collection&objectId=681547&viewType=detailView https://classicalchopped2.artinterp.org/omeka/files/original/198b5ceadf3fa6322130eae4c61e3624.jpg e128188fedb56c4771371000261fd2ed Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Met Caracalla Date A point or period of time associated with an event in the lifecycle of the resource Severan Period, AD 212-217 Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Marble Format The file format, physical medium, or dimensions of the resource 36.2 cm tall Rights Holder A person or organization owning or managing rights over the resource. The Met, New York, NY, United States Source A related resource from which the described resource is derived Italy, Rome Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Caracalla was the son of Septimius Severus and born AD 188 in Gaul. He was the second emperor during the Severan dynasty and began his rule in AD 198 alongside his father until his death in AD 211. Caracalla and his brother, Geta, then ruled as co-emperors until Caracalla had Geta murdered to take sole control over Rome. Caracalla left Rome in AD 213 on a military campaign and never returned. During his journeys, Caracalla became enthralled with Alexander the Great, mimicking his style in his portraiture. Upon his death in AD 217, Caracalla was subjugated to an unofficial damnatio memoriae. Description An account of the resource Description: This marble sculpture depicts Caracalla’s head from the base of his neck to the top of his head. His head is turned sharply to his left, and his eyes look upwards and to his left. He has a short-cropped haircut and trimmed beard. His head is shaped like a block and he has a squarish face. The facial X is formed from exaggerated musculature above his eyebrows and deep nasolabial lines around his mouth. His mouth carries no expression, but the heavy furrowed brow creates a scowl on his face. Significance: Caracalla distinguished himself from previous emperors in the Severan dynasty by portraying himself in sculpture with a short-cropped, military haircut and a stubble beard, unlike the long curls of hair and full beard of other Severan emperors. The characteristic sharp turn in his head found in his other portraits can be an attempt to connect with Alexander the Great in terms of military conquest and victory. The Met Caracalla is an example of a psychological portrait. The facial X is meant to communicate an intensity in Caracalla’s personality. The beginning of his sole rule over Rome began with the murder of his brother and his rule was characterized as violent. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.metmuseum.org/art/collection/search/253592 Scott, Andrew (2008). Change and Discontinuity Within the Severan Dynasty: The Case of Macrinus. Rutgers. p. 139. Sillar, Shamus (2001). Caracalla and Imperial Administration 212–217. pp. iii. Contributor An entity responsible for making contributions to the resource Isabella Laurel https://classicalchopped2.artinterp.org/omeka/files/original/a1c5546ed352ad1b8defa927ab7e7659.jpg adbfa3102d617b40758d4da59d41b76a Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Herculaneum Titus Date A point or period of time associated with an event in the lifecycle of the resource Flavian c. 79 CE Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Marble, paint Format The file format, physical medium, or dimensions of the resource 211 cm tall Source A related resource from which the described resource is derived Italy, Herculaneum, likely from the Augusteum, a structure dedicated to the imperial cult. Rights Holder A person or organization owning or managing rights over the resource. Museo Archeologico Nazionale di Napoli, Naples, Italy Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Titus was the second emperor in the Flavian dynasty, and ruled from 79-81 CE. Titus is the first emperor to have been the biological son of the previous emperor, establishing direct, dynastic succession of which Augustus could only dream. Like his father, Titus was a distinguished commander, having taken part in the Jewish Wars. As emperor, Titus completed construction of the Flavian Amphitheater, better known as the Colosseum, and undertook other projects. A greater portion of his rule, however, was devoted to disaster relief, as Mount Vesuvius erupted only a few months into his reign. His rule was cut short when he died of a fever in 81 CE. Description An account of the resource Description A slightly over-life size sculpture, Titus stands in military garb with an advanced left foot and right foot trailing behind. His face shows some signs of age, and borrows many physiognomic features of his father, Vespasian: namely his wide brow, close-set eyes, fleshy face, cleft chin, and a pointy, aquiline nose. As a result, he continues his father’s inclination towards Republican verism. He has a short haircut, appropriate for a military commander, yet also many delicate curls accentuated by the sculptor, somewhat reminiscent of Julio-Claudian comma locks though not as neatly arranged. Pigment remains on his hair, a useful reminder that marble sculptures were painted in antiquity. Two lines on his forehead, and defined nasolabial lines imbue his portrait with some age, appropriate given his becoming emperor at 40 years old. On his cuirass, two griffins flank a candelabrum, a favored ornamental motif of Julio-Claudian and Flavian emperors. His paludamentum, a military cloak, rests on his shoulders, and cloth is draped over his left arm. In his left hand, he holds what seems to be the hilt of a formerly intact sword; in his raised right hand, he likely held another object that is now lost. Various figures are carved into a belt below his cuirass, including twin elephants. He, also, is shown wearing caligae, open-toed military shoes conducive to long marches. A pillar on his left side acts as additional support for the weighty marble. Significance This portrait may represent the first imperial portrait of Titus, and he is depicted in the role of a general. Given its discovery in Herculaneum, the sculpture was certainly made before the eruption of Mount Vesuvius on August 24, 79 CE, which occurred soon after Titus’ ascension to the throne in June of that year. His physiognomic similarity to his father, Vespasian, who was deified after his death, is both indicative of their biological relationship, but, in addition, is likely a method of legitimizing Titus’ claim to the throne as the son of a god. It is also a continuation of the verism evident in Vespasian’s portraiture, which differentiated him from Nero especially. In addition to visually aligning himself with his father, Vespasian, the cuirassed statue also seems to imitate the Prima Porta Augustus, with one foot trailing somewhat behind the other, vaguely Julio-Claudian comma locks, and a decorated cuirass. This visual allusion would also strengthen his claim to the throne, by likening himself to the original pater patriae, father of the fatherland. He emphasizes his martial prowess in this portrait with his cuirass, paludamentum, short haircut, and caligae. The griffin is largely a mythological creature from the Near East, so while the candelabrum is certainly a decorative motif, it may also allude to his military success in Judaea, complemented by the rest of his military garb. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Kleiner, D. E. E. 1994. Roman Sculpture. New Haven. pp. 172-176, 202-203. Museo nazionale di Napoli, and Archivio fotografico Pedicini. 1986. Le Collezioni Del Museo Nazionale Di Napoli. Roma: De Luca. Part 2. 110-111. http://ancientrome.ru/art/artworken/img.htm?id=5009 Contributor An entity responsible for making contributions to the resource Jonathan Clark