2 10 51 https://classicalchopped2.artinterp.org/omeka/files/original/09580dc5ae65086ebb387a2467fc813e.jpg 3807ac8acd9bc57a1ac461b06b4b18b5 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 Reserve Head of Nofer Date A point or period of time associated with an event in the lifecycle of the resource 4th dynasty (Old Kingdom), ca 2551-2494 BC 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 27.1 cm tall Source A related resource from which the described resource is derived Egypt, Giza, Royal Cemetery, burial chamber of tomb G 2110 Rights Holder A person or organization owning or managing rights over the resource. Museum of Fine Arts in Boston, Massachusetts, United States 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. Nofer was a treasurer and royal scribe in the 4th dynasty of Egypt, serving the pharaoh's Khufu and Khafra in the mid- third millennium BC. He was a well distinguished official, who was buried in the royal cemetery. He held numerous other positions, including “Secretary of All the Secrets of the King”, “Overseer of the Arsenal”, and “Estate Manager”. Contributor An entity responsible for making contributions to the resource Christopher Peppe Description An account of the resource Description: The Reserve Head of Nofer is lifesize and portrays a male face. It appears to have been crafted in a rather realisitic style. The head is composed of limestone and was not painted, giving it a white, almost unfinished appearance. There is a distinct incision across the forehead, distinguishing a hairline which extends to immediately in front of the ears. The eyes are large and almond shaped, with faintly carved eyebrows above them. The cheekbones are high and prominent, which makes the face seem rather long. The nose is large and has a notable ridge, with multiple chisel marks across the front surface. The lips are closed giving the reserve head a neutral expression. Both ears have suffered damage and have been removed or chiseled away. Running along the back of the head, from the base of the neck to the crown of the skull, is a long incised marked. The chin is lifted, giving it a slightly upwards gaze. Significance: The Reserve Head of Nofer is a prime example of the beginning of a shift from idealism to realism in Old Kingdom portraiture. The face has distinct individualistic features, primarily the bridged nose and elevated cheekbones. This head is meant to represent a specific person, rather than portray an idealized and typical view of what a man in this position should look like. The function of this Reserve Head further influences the choice in the sculptor’s design style. Reserve heads in the 4th dynasty were buried in burial shafts of tombs, sometimes next to their owners sarcophagi, and acted as a double for the head of the mummy, in case it were to suffer significant damage in the burial or mummification process. It should be noted that this was not a widespread practice; reserve heads were only found in the earliest cemetaries of Giza. It is believed that this practice only occured for a couple generations, and was localized to this area. These heads played an important role; the Egyptians believed a part of their spirit, the Ba, was tied to the remains of the body and would continue existing following death. If the face of the body was destroyed, then the Ba would not be able to live on as it would not have a vessel resembling its original “host”. By constructing these reserve heads in the likeness of the person and including it in their burial, it would ensure that the Ba would have a “home” to reside in regardless of damage or removal of the body. One mystery surrounding this reserve head is the marks on the nose, as well as the damage to the ears. Leading theories suggest that this damage may have been the result of the reserve heads being utilized as molds for plaster casts. As the users removed the materials, it could have potentially caused the damage to the ears of this head. On the contrary, these marks could have simply been leftover as a result of the technique the sculptors used to carve these portraits References A related resource that is referenced, cited, or otherwise pointed to by the described resource. http://www.mfa.org/collections/object/reserve-head-of-nofer-134891 Simpson, William K. “A IV Dynasty Portrait Head.” The Metropolitan Museum of Art Bulletin, vol. 7, no. 10, 1949, pp. 286–292. JSTOR, JSTOR, Smith, William Stevenson. Ancient Egypt as Represented in the Museum of Fine Arts,Boston: 6th ed." Museum of Fine Arts, Boston, 1960 pp. 34-40 Lacovara, Peter. The World of Ancient Egypt: A Daily Life Encyclopedia. ABC-CLIO Publishing. 2016. Pp. 50-51 Handbook of the Museum of Fine Arts Boston 14th ed. The Fenway Huntington Avenue. October, 1920. pp. 26-30 https://classicalchopped2.artinterp.org/omeka/files/original/15104ac76e334ce611893217d2070a2a.jpg 54bfa6c764f2cb664fb410ffec225bfa 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 Anacreon Date A point or period of time associated with an event in the lifecycle of the resource 2nd century CE Roman copy of a circa 440 BCE Greek original Medium The material or physical carrier of the resource. Marble Format The file format, physical medium, or dimensions of the resource Height: 190 cm Source A related resource from which the described resource is derived Italy, Roman villa at Monte Calvo Rights Holder A person or organization owning or managing rights over the resource. Ny Carlsberg Glyptotek, Copenhagen, Denmark Creator An entity primarily responsible for making the resource Phidias 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. Anacreon (c. 570-485 BCE) was a Greek lyric poet, whose poetry primarily focused on themes of love and the human condition. His poetry was both admired in classical Athens and by later Greco-Roman poets. Contributor An entity responsible for making contributions to the resource Edward Borders Description An account of the resource Description: Anacreon is standing, naked, next to a tree stump, which has one notch facing outward. He is looking slightly upward and to his right, and his blank expression reflects that he is performing an act that requires some manner of attention. He has slightly pronounced cheekbones beneath his hollowed-out and slightly baggy eyes, emphasized further by his wrinkle-free skin. Below his average-sized nose, he has slightly parted lips, surrounded by a thick moustache which gives way into a thick, wavy, and curly beard, which covers all of his neck from the front. His beard, however, does not extend forward past his chin, and flows naturally into his wavy and thick hair, whose curly locks form a covering over his head that, while dense with curls, does not extend far out. The top of his head, from his hairline in the front, to the height of the top of his slightly concealed ears in the back, is missing, and there is also a featureless ridge, sloping gently downwards towards the back of his head, in the left side of his hair. Anacreon stands with his left foot pointing straight forward, perpendicular with the stump, while his right foot is turned away from his body. His left foot is placed directly beneath his left hip, while his right foot is stationed just beyond his right hip. Both of his feet, with trimmed toenails and delicate ankles, are flat on the ground. His thin calves, which have spurs about halfway between the knee and the foot, are short; they are about half the height of his thighs, and they rest below his thin kneecaps. Anacreon's left leg is erect, while his right leg is slightly bent and relaxed, suggesting his weight is focused on his left side. This is mirrored in his shoulders, which slant slightly downwards from left to right. His torso is very youthful and muscular; he has pronounced collarbones, large pectoral muscles, visible abdominal muscles, and a noticeable "Apollo's belt," which forms a semicircular ridge from the edge of his abdominal muscles to the top of his groin. His shoulders, back, arms, and his right pectoral muscle are covered by a light cloak. His left elbow is bent in a way that would suggest his forearm would be extending outwards, while the rest of his arm is at his side. His right arm, also at his side, is curled upwards; these two arms, together, indicate that he was likely holding a non-extant lyre. Significance: This statue of Anacreon is emblematic of common traits among Classical Greek portraiture. Especially in high Classical Greek portraiture, individualizing elements of a person's face were placed over what the Greeks believed to be archetypical features of the ideal "person of thought" or "person of action." For example, there are enough unique features of this statue to indicate that it is Anacreon, based on a herm inscribed with his name, but his fit physique, wrinkle-free skin, and youthful expression indicate that this statue is an idealized form of how Anacreon may have actually looked. Anacreon shares similarities, including his long beard and expressionless face, with later Athenian "men of thought." In the case of these "men of thought," a naturalistic rather than realistic approach was taken: each portrayal of a thinker began as a "mask," or archetypical form of a thinker in the Greek conception, and then individualizing features were added. In this way, Classical portraiture, according to J.D. Breckenridge, aligned itself with Platonic philosophy, which claims that the physical body is disconnected with the inner soul, while Hellenistic portraiture agrees with Aristotelian philosophy, which asserts the opposite claim. Elements of the statue, including the non-extant poet's ribbon and lyre or wine cup, are emphasized more than the unique characteristics of Anacreon's physical body. Thus, in the supposed original context of this statue in the Athenian Acropolis, viewers were meant to understand this statue not as a reflection of Anacreon as a human being, but through his civic duty to the polis: his poetry. He is nude, which is a trait carried over by athlete statuary into the realm of "hero monuments;" in this way, Anacreon is also a hero to the Athenian state by virtue of his poetry. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Breckenridge, James D. Likeness: A Conceptual History of Ancient Portraiture, Northwestern University Press, 1968, pp. 87-92, 101-105, 120-123. Hamilton, Robin. Anacreon, Critical Survey vol. 6, no. 2, 1994, p. 275. Johansen, Fleming. Catalogue: Greek Portraits in the Ny Carlsberg Glyptotek, Ny Carlsberg Glyptotek, 1992, pp. 18-21. Pollitt, Jerome J. Art in the Hellenistic Age, Cambridge University Press, 1986, pp. 59-62. https://classicalchopped2.artinterp.org/omeka/files/original/5d477d2dcffce2fb68b90ca4a1c018b5.jpg e90ff11907443ccb507445a5b704fbdd 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 Azara Herm Date A point or period of time associated with an event in the lifecycle of the resource 1st-2nd century C.E. Roman copy of Greek original ca. 330 B.C.E Creator An entity primarily responsible for making the resource Unknown Roman Copyist; Original Artist- Lysippos Medium The material or physical carrier of the resource. Roman Copy-Pentelic Marble Greek Original- Bronze Format The file format, physical medium, or dimensions of the resource 68 cm tall Source A related resource from which the described resource is derived Italy, Tivoli, Villa Dei Pisoni Rights Holder A person or organization owning or managing rights over the resource. The Louvre in Paris, France 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. Alexander the Great was a Macedonian ruler who established the largest empire of the ancient world. An admirer and student of Greek culture; he led the ancient Greeks to conquer Persia, Egypt, and even reached as far as India. Alexander the Great is regarded as a military genius, and one of the most successful leaders to have ever lived. He was in charge of the largest empire in ancient history before reaching the age of 30. Contributor An entity responsible for making contributions to the resource Christopher Peppe Description An account of the resource DESCRIPTION: The Azara herm is a life-size herm statue that portrays the head of a male attached to a pillar. The statue has been badly damaged over time, leaving it with a weathered appearance. Inscribed on the pillar in ancient Greek is “Alexander the Macedonian son of Philip”. The face is that of a beardless and youthful male. There are some incisions and marks across the face, but these were the result of the statue being buried for hundreds of years. The head is raised and facing off to the right, giving him a tilted and upwards glance. The lips are parted slightly, as if the statue were getting ready to speak. The blank eyes, which once would have been painted in, give off a melting gaze. The statue has long and thick waves of hair, parted in the middle, which entirely encompasses the right ear; The left ear is poking out through the hair. Above the central point of the forehead, the locks of hair stand straight up in the anastole fashion. SIGNIFICANCE The Azara herm is considered one of the best Roman replicas of the works of Lysippos. Lysippos was chosen by Alexander the Great to be his court sculptor, and was the only person allowed to craft his image. Alexander was extremely concerned with how he was portrayed, leading to one official, carefully controlled image. This would be disseminated throughout his massive empire, allowing people from throughout the lands to know not only what their leader looked like, but the type of person that he was. This herm statue contains a mixture of naturalized and realistic features. The cheekbones and nose are more natural features, while details such as the neck tilt, “melting eyes”, parted lips and anastole hair are clearly indicative of Alexander the Great. The base of the figure was naturalized but was overlaid with realistic features which give a much more individualized appearance. The bare face was a direct contrast to the typically bearded rulers of ancient Greece. His slight neck tilt and upwards gaze represented power and strength and would go on to become the standard iconography for Hellenistic kingdoms. Through sculpture, Lysippos was able to capture Alexanders natural born ruling abilities, as well as his “leonine quality”. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.louvre.fr/en/oeuvre-notices/portrait-alexander-great-356-323-bc Heckel, Waldemar. Tritle, Lawrence A. "Alexander the Great: A New History". John Wiley & Sons, September 2011. pp. 279-284 Bieber, Margarete. “The Portraits of Alexander.” Greece & Rome, vol. 12, no. 2, 1965, pp. 183–188. JSTOR <div class="textLayer--absolute">Pollitt, J. J. "Art in the Hellenistic Age". Cambridge 1986. pp 20-23</div> https://classicalchopped2.artinterp.org/omeka/files/original/8af90d84ed3a8901ffbe78099cb6e32d.jpg 7cfab4c9210660c12ce1f9827b0e43df 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 Harmodius and Aristogeiton Date A point or period of time associated with an event in the lifecycle of the resource 1st-2nd century AD; copy of a Classical work, ca. 510 BC and 477 BC Creator An entity primarily responsible for making the resource Unknown, copyist Antenor, original artist Kritios and Nesiotes, replacement artists Medium The material or physical carrier of the resource. Bronze, Greek originals Marble, Roman copy Format The file format, physical medium, or dimensions of the resource 190 cm tall Source A related resource from which the described resource is derived Found in Villa Adriana in Tivoli outside Rome Rights Holder A person or organization owning or managing rights over the resource. National Archaeological Museum, Naples 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. Known as the Tyrannicides, Harmodius and Aristogeiton were Athenian aristocrats, lovers, and heroes, responsible for the assassination of Hipparchus, brother of the Peisistratid tyrant Hippias. They were caught and killed after murdering Hipparchus, but eventually this event led to the end of tyranny and founding of democracy in Athens, making Harmodius and Aristogeiton heroes to be honored for their achievement. However, their motives for Hipparchus's assassination had less to do with democracy and more to do with a lovers’ quarrel; Hipparchus loved Harmodius who rejected him for Aristogeiton. Harmodius and Aristogeiton thus sought to kill Hipparchus in fear of vengeance. Description An account of the resource Description: The posthumous portrait statues of Harmodius and Aristogeiton depict the two heroes in an action group. The marble statues are physically autonomous, but they are linked in their poses and the event they represent. Both men are depicted nude in this copy of the original, brandishing swords of which only the hilts are left. Their bodies are highly idealized as was common in the practice of depicting heroic figures at this time. Aristogeiton is portrayed as a mature man with a full beard and a cape draped over his left shoulder. His head is rolled to the left and his right leg is bent and firmly planted while his left leg is open backward with the heel off of the ground. Harmodius, the younger of the two Athenians, has his right arm stretched forward and his right leg bent at the knee and firmly planted forward. His hair is made of small stylized spiral curls. His legs and arms have been restored. The back feet of both portrait statues are supported by wedge-like struts and their front legs lean against tree trunk-shaped plinths, signs that these portraits are Roman copies. Significance: The portraits of Harmodius and Aristogeiton signify a key characteristic of Classical Athenian portraiture. They portray an emphasis on depicting men who served the polis in a heroic role. This kind of dedication occurred as a form of pride following the Greek’s defeat of the Persians in the Persian Wars (490-480 BC). Harmodius and Aristogeiton were first celebrated posthumously in 510 BC when the original bronze group was produced by Antenor and set up by the polis of Athens in the Athenian Agora. This is significant because it is the first time portraits were not commissioned by the individuals depicted, but by the community, paid for out of public funds as a way of honoring the heroic individuals. The statues are portrayed as idealized athletes to elevate Harmodius and Aristogeiton and further signify their heroism. Elements of both Archaic and Classical Greek portraiture are evident in this portrait group; Harmodius and Aristogeiton are depicted naturalistically and in dynamic poses, but they are not particularly individualized. Of course, the exact original depiction is unknown as Antenor’s group was stolen by the Persians when they occupied Athens in 480 BC during the Persian Wars and removed to Susa. It was eventually returned by Alexander the Great or Seleucus I, but before that a replacement set was produced by Kritios and Nesiotes in 477 BC. This is the set that was extensively copied in Hellenistic and Roman times. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Breckenridge, J. D. 1968, Likeness: A Conceptual History of Ancient Portraiture, Evanston, pp. 81-87. Dillon, S. 2012. Ancient Greek Portrait Sculpture: Contexts, Subjects, and Styles, Cambridge. Richter, G. M. 1965. The Portraits of the Greeks, New Haven. https://www.museoarcheologiconapoli.it/en/sculptures/ https://www.metmuseum.org/art/collection/search/252468 http://museum.classics.cam.ac.uk/collections/casts/harmodios-and-aristogeiton-tyrant-slayers <div> </div> <div> </div> Contributor An entity responsible for making contributions to the resource Lauren Kershenbaum https://classicalchopped2.artinterp.org/omeka/files/original/4b42d79b60c71e314aeb61cf8c86bde9.jpg 3604de1f77359d3898e26b7722e3b138 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 Herm Bust of Perikles Date A point or period of time associated with an event in the lifecycle of the resource 440 BC Creator An entity primarily responsible for making the resource Kresilas Medium The material or physical carrier of the resource. Marble Format The file format, physical medium, or dimensions of the resource 60 cm tall Source A related resource from which the described resource is derived Europe, Italy, Tivoli, Villa of Cassius Rights Holder A person or organization owning or managing rights over the resource. British Museum 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. Perikles was a Greek statesman, orator, and general of the Athenian army during the Peloponnesian and Persian Wars. He was known to have a long head, which is why artists typically created his portraits with the Corinthian helmet. He loved the arts, so he commissioned works to be displayed on the Athenian Acropolis. Contributor An entity responsible for making contributions to the resource Isabella Laurel Description An account of the resource Description: The herm bust depicts the head and neck of Perikles. Its width ends before the shoulders and sits atop a rectangular base. There is an inscription at the base of the herm in Greek. Perikles is sculpted from white marble and depicted as an adult. He is sculpted with a curly beard and moustache, with curly hair peeking out from under the helmet. The helmet sits on top of his head to allow his face to show. He looks to his left with his and tilts his head slightly to his left.¬ His lips are slightly parted and has broad eyelids. The face is mask-like with no emotion showing through and an absence of facial expression. Significance: The Greek inscription reads, "Perikles." The helmet depicted is the Corinthian helmet, and shows Perikles as strategos, a military general. The helmet is to cover his unusual, elongated head. The slight tilt and turn of his head to the left suggests that Pericles would be in a contrappasto pose had this been a fully sculpted work. The parted lips suggest that he is alive and can breathe. The mask-like depiction is important to Perikles as strategos because it shows that he can be calm and serene during battle. This is a quality that could be credited to his militaristic victories and is typical generalization during the Classical period. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Dillon, Sheila. “Displaying Portraits of the Greeks.” Ancient Greek Portrait Sculpture: Contexts, Subjects and Styles. Cambridge University Press, 2006, pp. 42–57. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=461658&partId=1 PLUTARCH, PLUTARCH. PLUTARCH'S LIVES,: Translated from the Original Greek. FORGOTTEN BOOKS, 2017. https://classicalchopped2.artinterp.org/omeka/files/original/e30521ddc79b7bb15447c3b996ece793.JPG b59d60760a97b2fc3a4defc3194322d6 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 Mask of Agamemnon Date A point or period of time associated with an event in the lifecycle of the resource ca. 1500 BCE Creator An entity primarily responsible for making the resource unknown Medium The material or physical carrier of the resource. Beaten gold (repousse) Source A related resource from which the described resource is derived Shaft grave V, Circle A, Royal Palace, Mycenae, Greece. Found in association with one of the bodies located in the grave Rights Holder A person or organization owning or managing rights over the resource. National Archaeological Museum, Athens, Greece 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 attribution of this Bronze Age sculpture to the Homeric king Agamemnon by Schliemann, the finding archaeologist, is highly fanciful. There is no inscription or other evidence that would support such an attribution. The chronology also casts doubt, as the mask appears to have been made considerably earlier than the historical Trojan War (12th century BCE). Description An account of the resource Description: This life-size image of a middle-aged man's face is embossed on a gold membrane, with finer features (beard, eyebrows) chased into the gold. The face has a long narrow nose and high cheekbones. The large mouth is closed with thin lips. The almond-shaped eyes are curiously worked. Some scholars have concluded that the eyes were originally depicted as open (with lid folds surrounding each eye), and were subsequently "closed." The anatomy of the closed eyes is botched, with lids meeting in the middle of the eyes instead of closing from top to bottom. A beard appears along the chin, jaw and neck. Also depicted is an elegant handlebar moustache, and a small wisp of beard just below the lower lip. The presentation of the ears is curious: they are shown flattened out into the same plane as the front of the face. Perhaps the mask wrapped around the face of the deceased, which would have resulted in correct anatomical placement. The small holes in front of each ear are thought by scholars to have been bored for strings to hold the mask in place. Significance: Though found on the face of the deceased, this is not a true desk mask (a sculpture molded to the features of the corpse). Rather, it is a gold sheet that had hammered onto a mold, then worked in detail. Even in death, the face has a regal bearing, well captured by the artist. If not the Homeric Agamemnon, this is a Mycenaean prince of high status. Unlike the other, presumably earlier, death masks found in grave circles at Mycenae, the "Agamemnon" mask shows an advanced degree of character and individuation. The handling of facial hair is remarkably different from the other masks found at the grave site, this being the only one depicting a full mustache. These pronounced stylistic differences, coupled with Schliemann's reputation for playing fast and loose with the truth, have led some scholars to conclude the "Agamemnon" mask is a forgery, though the matter is by no means settled. Previous to the time of the Mycenaean tombs gold was extremely scarce on the Greek mainland. Its use in Mycenaean grave masks has been taken as an indicator of commercial interactions with Egypt. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Arentzen, Wouk. "An Examination of the 'Mask of Agamemnon'." L'Antiquite Classique, vol. 70, 2001, pp. 189-192. Blegen, Carl. "Early Greek Portraits," American Journal of Archaeology, vol 66, no. 3, 1962, pp. 245-247. Calder, William. "Is the Mask a Hoax?" Archaeology, vol. 52, no. 4, 1999, pp.53-55. Gardner's Art Through the Ages. 6th ed., Harcourt Brace Jovanovich, 1975, p.20. Gere, Cathy. The Tomb of Agamemnon, Harvard University Press, 2011. Karouzou, Semni. National Museum: Illustrated Guide to the Museum, Ekdoke Athenon, 1977, pp. 23-27. Contributor An entity responsible for making contributions to the resource Mark Weadon Format The file format, physical medium, or dimensions of the resource 30.5 cm high https://classicalchopped2.artinterp.org/omeka/files/original/2704d3557871fef88ef14bea2f6ac289.jpg 8f010908d9fcf638e865ecef463fedce 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/. Date A point or period of time associated with an event in the lifecycle of the resource 5th century BC 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 50 cm tall Source A related resource from which the described resource is derived Ostia, in the House of Themistokles, near the Theater Rights Holder A person or organization owning or managing rights over the resource. Museo Archeologico Ostiense (Archeological Museum of Ostia), 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. Themistokles was an Athenian general at Salamis. The Battle of Salamis occurred in 480 BC as part of the Persian War. He was a skilled naval strategist and served as the archon of Athens starting in 493 BC. Themistokles was a strong proponent for using the Greek fleet made up of triremes in the Persian War. After the war Thermistokles did not get as much praise from the Athenians as one would think though the herm bust suggests that there were at least some that viewed him as a hero. Description An account of the resource Description: The Herm of Themistokles is the bust of a man, showing only the head on top of a block of marble. The facial expression is very serious with the lips slightly downturned and slightly arched brows. His lips are partly slightly. He has a full beard though it is not very long. His hair and beard have a wavy texture. There is a deep line in his forehead. The ears, nose, and left side of the beard of the bust have been damaged. There is also a crack on the back of his head running from the top of the head to the bottom of the hairline. His eyes are deeply set back in their sockets creating a shadow under the brows. At the bottom of the bust Thermistokles's name is inscribed on the marble. Significance: This portrait is a Roman copy of a 5th century portrait. It is done in the Classical Greek style with common characteristics such as being naturalistic, minimal facial expression to crete something of a mask, and "typing". "Typing" refers to how Themistokles is depicted in the standard general type with some specific features such as his eyes, hair, and beard. It is mostly idealized or highlighting youthful qualities as there is not much age shown in the face, however the beard could suggest some age. The herm bust is part of the genre of "Men of Action" portraits. The people that are depicted in these portraits are honored because of some service to the polis whether through the military or politics. In Thermistokles's case he was a heroic general at the Battle of Salamis. This battle is significant to the Greeks because it was a major victory for them during the Persian War and sparked Greek pride and thus Thermistokles is seen as a great war hero. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Breckenridge, J. D. 1968, Likeness: A Conceptual History of Ancient Portraiture, Evanston. pp. 87-115. Print. Kuiper, Kathleen and Andrew Robert Burn. "Themistocles." Encyclopaedia Britannica, inc., 8 Feb 2018. https://www.britannica.com/biography/Themistocles. Accessed 1 Mar 2018. Web. "Ostia Themistokles (Sculpture)." Perseus Digital Library, Tufts University, 12 Dec 2017. Accessed 28 Feb 2018. Web. Contributor An entity responsible for making contributions to the resource Nina Cardillo Title A name given to the resource Herm of Themistokles 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 Herm Bust of Themistokles Contributor An entity responsible for making contributions to the resource Nina Cardillo Date A point or period of time associated with an event in the lifecycle of the resource 5th century BC 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 50 cm tall Source A related resource from which the described resource is derived Ostia, in the House of Themistokles, near the Theater Rights Holder A person or organization owning or managing rights over the resource. Museo Archeologico Ostiense (Archeological Museum of Ostia), 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. Themistokles was an Athenian general at Salamis. The Battle of Salamis occurred in 480 BC as part of the Persian War. He was a skilled naval strategist and served as the archon of Athens starting in 493 BC. Themistokles was a strong proponent for using the Greek fleet made up of triremes in the Persian War. After the war Thermistokles did not get as much praise from the Athenians as one would think though the herm bust suggests that there were at least some that viewed him as a hero. Description An account of the resource Description: The Herm of Themistokles is the bust of a man, showing only the head on top of a block of marble. The facial expression is very serious with the lips slightly downturned and slightly arched brows. His lips are partly slightly. He has a full beard though it is not very long. His hair and beard have a wavy texture. There is a deep line in his forehead. The ears, nose, and left side of the beard of the bust have been damaged. There is also a crack on the back of his head running from the top of the head to the bottom of the hairline. His eyes are deeply set back in their sockets creating a shadow under the brows. At the bottom of the bust Thermistokles's name is inscribed on the marble. Significance: This portrait is a Roman copy of a 5th century portrait. It is done in the Classical Greek style with common characteristics such as being naturalistic, minimal facial expression to crete something of a mask, and "typing". "Typing" refers to how Themistokles is depicted in the standard general type with some specific features such as his eyes, hair, and beard. It is mostly idealized or highlighting youthful qualities as there is not much age shown in the face, however the beard could suggest some age. The herm bust is part of the genre of "Men of Action" portraits. The people that are depicted in these portraits are honored because of some service to the polis whether through the military or politics. In Thermistokles's case he was a heroic general at the Battle of Salamis. This battle is significant to the Greeks because it was a major victory for them during the Persian War and sparked Greek pride and thus Thermistokles is seen as a great war hero. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Breckenridge, J. D. 1968, Likeness: A Conceptual History of Ancient Portraiture, Evanston. pp. 87-115. Print. Kuiper, Kathleen and Andrew Robert Burn. "Themistocles." Encyclopaedia Britannica, inc., 8 Feb 2018. https://www.britannica.com/biography/Themistocles. Accessed 1 Mar 2018. Web. "Ostia Themistokles (Sculpture)." Perseus Digital Library, Tufts University, 12 Dec 2017. Accessed 28 Feb 2018. Web. https://classicalchopped2.artinterp.org/omeka/files/original/5391f9d6e5fb7db5dea7b63d27797f93.jpg 47312ecd16fe95166c4850d064eb804f 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 Tutankhamun on a Lotus Date A point or period of time associated with an event in the lifecycle of the resource ca. 1330 BCE, 18th Dynasty (New Kingdom) Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Wood, gesso coating, paint Format The file format, physical medium, or dimensions of the resource 30 cm tall Source A related resource from which the described resource is derived Egypt, Thebes, Valley of the Kings, entryway in tomb KV62 Rights Holder A person or organization owning or managing rights over the resource. Egyptian Museum, Cairo, Egypt 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. Tutankhamun was a pharaoh during the 18th Dynasty ca. 1334-1325 BCE. He was successor to his father Akhenaten, who had implemented the dramatic monotheistic overhaul of Egyptian religion, focused on the worship of Aten, the sun disc. From analysis of his mummy found within the tomb, and the knowledge of the duration of his reign, he is estimated to have been about nine years old upon assumption of the throne. Tutankhamun’s reign is characterized largely, despite its brief duration, by the reversal of dramatic changes made by his father. He changed his name from Tutankhaten to Tutankhamun to reflect a return to the worship of Amun, and he moved the capital away from Amarna, with renewed focus on Thebes and Memphis. These changes may have been motivated more by his advisors than any traditionalism on his part, particularly due to his youth. After his sudden death, he was buried in KV62, an uncharacteristically small tomb for a pharaoh, but laden with treasures nonetheless. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Amenta, Alessia. 2005. The Treasures of Tutankhamun: And the Egyptian Museum of Cairo. Vercelli: White Star. 195. Breckenridge, James D. 1968. Likeness; a Conceptual History of Ancient Portraiture. Evanston Ill: Northwestern University Press. 50-63. Edwards, I. E. S, Harry Burton, Lee Boltin, and Metropolitan Museum of Art (New York, N.Y.). 1976. Tutankhamun, His Tomb and Its Treasures. 1st ed. New York: Metropolitan Museum of Art. 22. Edwards, I. E. S, and National Gallery of Art (U.S.). 1976. Treasures of Tutankhamun. 1st ed. New York: Ballantine Books. 99. Wente, Edward F. 1976. “Tutankhamun and His World” in Treasures of Tutankhamun. 1st ed. New York: Ballantine Books. 19-31. Contributor An entity responsible for making contributions to the resource Jonathan Clark Description An account of the resource Description The bust presents a young Tutankhamun, from the neck up, perched on a blue lotus, blossoming from a blue base. Tutankhamun is portrayed with features characteristic of the Amarna style: an elongated skull, full lips, a fleshy face and neck. His head, seemingly just shaved, is covered with hair rendered in tiny, black specks of paint. His eyebrows are boldly painted; his eyes, accentuated with traditional Egyptian makeup, kohl, that may have been a more vibrant blue reminiscent of lapis lazuli. Not much attention is paid to differentiating the iris from the pupil, but the whites are represented. His ears protrude and his earlobes are pierced. Remnants of the jewelry that would have adorned the bust can be seen in his left earlobe: presumably, the figure was stripped of valuables in antiquity. His skin is painted with a brown typical of males in Egyptian art. Moving down the bust, a delicately painted blue lotus can be seen opening, with a backdrop of white paint. The stalk of the lotus is ribbed, and larger, darker leaves enclose the budding petals. There is visible damage with paint chipping on the nose and his left cheek. In addition, a dramatic split is observed on the left side of the face, extending from the top of his forehead down to his chin. Significance Tutankhamun’s relatively brief reign marks a return to the traditional, polytheistic pantheon after the dramatic religious and cultural overhaul of the Amarna period under Akhenaten. Even so, the figure is still rendered with features characteristic of the Amarna style: the most pronounced being his elongated head. He retains his connection to his family in this bust. The image of the lotus is a significant motif in Egyptian mythology and funerary decoration. More than a decorative motif though, it has mythological significance that aligns the pharaoh with the sun god. An Egyptian cosmogony attests that there was a primordial sea from which a lotus grew, and from this original lotus, the sun god Amun emerged. The blue base is certainly reminiscent of water, and with Tutankhamun’s head emerging from the lotus, it seems to be a direct allusion. Just as the sun rises and sets, the lotus closes and opens its petals, at the same suggesting a continuous rebirth, renewal, and eternal life by extension. 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 Tutankhamun on a Lotus Date A point or period of time associated with an event in the lifecycle of the resource c. 1325 BCE 18th Dynasty (New Kingdom) Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Wood, gesso coating, paint Format The file format, physical medium, or dimensions of the resource 30 cm tall Source A related resource from which the described resource is derived Egypt, Thebes, Valley of the Kings, entryway of tomb KV62 Rights Holder A person or organization owning or managing rights over the resource. Egyptian Museum, Cairo, Egypt 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. Tutankhamun was a pharaoh during the 18th Dynasty c. 1334-1325 BCE. He was successor to his father Akhenaten, who had implemented the dramatic monotheistic overhaul of Egyptian religion, focused on the worship of Aten, the sun disk. From analysis of his mummy found within the tomb, and the knowledge of the duration of his reign, he is estimated to have been about nine years old upon assumption of the throne. Tutankhamun’s reign is characterized largely, despite its brief duration, by the reversal of dramatic changes made by his father. He changed his name from Tutankhaten to Tutankhamun to reflect a return to the worship of Amun, and he moved the capital away from Amarna, with renewed focus on Thebes and Memphis. These changes may have been motivated more by his advisors than any traditionalism on his part, particularly due to his youth. After his sudden death, he was buried in KV62, an uncharacteristically small tomb for a pharaoh, but laden with treasures nonetheless. Description An account of the resource Description The bust presents a young Tutankhamun from the neck up, perched on a blue lotus, blossoming from a blue base. Tutankhamun is portrayed with features characteristic of the Amarna style: an elongated skull, full lips, a fleshy face and neck. His head, seemingly just shaved, is covered with hair rendered in tiny, black specks of paint. His eyebrows are boldly painted; his eyes, accentuated with traditional Egyptian makeup, kohl, that may have been a more vibrant blue reminiscent of lapis lazuli. Not much attention is paid to differentiating the iris from the pupil, but the whites are represented. His ears protrude and his earlobes are pierced. Remnants of the jewelry that would have adorned the bust can be seen in his left earlobe: presumably, the figure was stripped of valuables in antiquity. His skin is painted with a red-brown typical of males in Egyptian art. Moving down the bust, a delicately painted blue lotus can be seen opening, with a backdrop of white paint. The stalk of the lotus is ribbed, and larger, darker leaves enclose the budding petals. There is visible damage with paint chipping on the nose and his left cheek. In addition, a dramatic split is observed on the left side of the face, extending from the top of his forehead down to his chin. Significance Tutankhamun’s relatively brief reign marks a return to the traditional, polytheistic pantheon after the dramatic religious and cultural overhaul of the Amarna period under Akhenaten. Even so, the figure is still rendered with features characteristic of the Amarna style: the most pronounced being his elongated head. The image of the lotus is a significant motif in Egyptian mythology and funerary decoration. The lotus also has mythological associations. An Egyptian cosmogony attests that there was a primordial sea from which a lotus grew, and from this original lotus, the sun god Amun emerged. The blue base is certainly reminiscent of water, and with Tutankhamun’s head emerging from the lotus, the bust alludes to this creation myth. Just as the sun rises and sets, the lotus closes and opens its petals, suggesting a continuous rebirth and renewal. Though he retains his connection to his family with features from the distinctive Amarna style, Tutankhamun, by strengthening his connections to the sun god Amun, breaks from the religious program of his father simultaneously. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Amenta, Alessia. 2005. The Treasures of Tutankhamun: And the Egyptian Museum of Cairo. Vercelli: White Star. 195. Breckenridge, James D. 1968. Likeness; a Conceptual History of Ancient Portraiture. Evanston Ill: Northwestern University Press. 50-63. Edwards, I. E. S, Harry Burton, Lee Boltin, and Metropolitan Museum of Art (New York, N.Y.). 1976. Tutankhamun, His Tomb and Its Treasures. 1st ed. New York: Metropolitan Museum of Art. 22. Edwards, I. E. S, and National Gallery of Art (U.S.). 1976. Treasures of Tutankhamun. 1st ed. New York: Ballantine Books. 99. Wente, Edward F. “Tutankhamun and His World” in Treasures of Tutankhamun. 1st ed. New York: Ballantine Books. 19-31. Contributor An entity responsible for making contributions to the resource Jonathan Clark https://classicalchopped2.artinterp.org/omeka/files/original/42d8062ab6837bc0f1ea534387342631.png 71d2a971ffa5acdce507d60af871b770 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 Peplos Kore Date A point or period of time associated with an event in the lifecycle of the resource 530 BC (Archaic Greece) Creator An entity primarily responsible for making the resource unknown Medium The material or physical carrier of the resource. Parian marble with traces of paint Format The file format, physical medium, or dimensions of the resource 118 cm tall Source A related resource from which the described resource is derived Greece, Athens, Athenian Acropolis, North-West of the Erechtheion Rights Holder A person or organization owning or managing rights over the resource. The Acropolis Museum, Athens, Greece References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Cook, R. M. “The Peplos Kore and Its Dress.” The Journal of the Walters Art Gallery, vol. 37, 1978, pp. 84–87. JSTOR, JSTOR, www.jstor.org/stable/20168963. Ridgway, Brunilde Sismondo. “The Peplos Kore, Akropolis 679.” The Journal of the Walters Art Gallery, vol. 36, 1977, pp. 49–61. JSTOR, JSTOR, www.jstor.org/stable/20168947. 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 kore are representations of young women used to mark graves or used as votive offerings. The word Kore means 'young woman' or 'girl' in ancient Greek. The sitter in this work is unknown. Description An account of the resource Description: Her dress is a garment called a peplos that covers her body from her shoulders to her feet. Her garment is belted. She has an underdress called a chiton peeking out from under the sleeves and hem. The lower half of her body is column-like. From her waist down her skirt encloses her legs and feet. Her torso is front facing and her posture is upright. She is holding out her left arm, which is bent at the elbow. The forearm and hand are missing, but are presumed to of held an attribute. In many reconstructions, it is sown being held straight out with the palm upright. Her right arm is down to her side and clenched in a loose fist. While the body of the statue is common and seen across many other Kore, she has other distinguishing features. Her hair is very detailed and styled. She features traces of paint that tell us that she was painted originally, giving the opportunity to individualize her garment. Her face features relaxed but alert eyes with an archaic smile. Traces of paint have been found on the statue, indicating that the dress was painted, as well as the hair and parts of the face. Significance: The statue is carved in the round but is meant to be seen from the front. Kore were often put on pedestals so one would be looking slightly up at the statue. It has been noticed by scholars that there are some holes in the statue. There are some around the head, presumed to have held a metal wreath, as well as some on the preserved hand and on the base of the statue, presumed to be for a metal weapon or shield. The hole in the hand went through the hand. The holes were squarelike in shape. As well as holes in the shoulders, possibly for metal dress-fasteners. The jury is out on who is represented here. Some scholars believe that it is a "type" of grave marker. Others believe it is a goddess like Athena. Some scholars believe that it is an induvial representation of the deceased. https://classicalchopped2.artinterp.org/omeka/files/original/565c0b65ba0c10a71bf192efc272efcd.jpg cc06a8f7027858f7f96cf78ee850bdda 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 Coin of Lysimachos Date A point or period of time associated with an event in the lifecycle of the resource 305-281 BC Creator An entity primarily responsible for making the resource State of the Kingdom of Thrace Medium The material or physical carrier of the resource. Silver Format The file format, physical medium, or dimensions of the resource 17.25 grams Source A related resource from which the described resource is derived Minted in Lampsacus, (Asia,Turkey,Mysia,Lâpseki,Lampsacus) Rights Holder A person or organization owning or managing rights over the resource. The British Museum, London, England 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. A former general and companion of Alexander, Lysimachus (reigned 305-281 BC) inherited the kingdom of Thrace in Northern Greece, to which he subsequently added parts of Asia Minor (modern Turkey). Description An account of the resource Description: The obverse of this silver coin shows the head of Alexander the Great. His head is shown facing the right, diademed and wearing a ram's horn. Alexander is shown youthful and clean-shaven, as he preferred to be portrayed. He is shown with long locks of hair rising above his forehead with eyes cast upwards. The reverse of the coin portrays the goddess Athena and Nike crowning a name with laurels. This side portrays a seated Athena, the goddess of war, a spear and shield beside her, holding Nike in her outstretched arm. Athena's shield is shown with a lion. The reverse also features a Greek legend which translates 'Of King Lysimachus'. Significance: Alexander's portrait was featured on many coins circulating in the kingdom. Alexander's image stood for an established and dependable empire. The successors of Alexander used his portrait to portray similar beliefs. Lysimachus used the king’s image on his own coins in order to cast himself in the role of successor and legitimize his claim to the kingdom of Thrace. The ram horns that are shown on Alexander's head are "horns of Ammon" symbolizing Alexander's claim that he was the son of Egyptian god Ammon. By alluding to his divine parenthood, he is capitalizing on the Egyptian Tradition in which pharaohs were thought to be gods on Earth. On the reverse, Athena and Nike (Victory) are shown crowning Lysimachus name with laurels, symbolizing victory and honor. This exerts his own royal authority by naming himself "king". Athena is holding a shield to her side with a lion. The lion references Lysimachus's famous exploit of killing a lion with his bare hands and reinforces his association with Alexander, who used the skin of the Nemean lion as a symbol of courage and power. The inscription, translated from Greek, reads "OF KING LYSIMACHUS." References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Petac, Emanuel. “From the Types of Alexander to Lysimachus: The Chronology of Some Mesembrian and Other West Pontic Staters.” American Journal of Numismatics (1989-), vol. 23, 2011, pp. 7–15. JSTOR, JSTOR, www.jstor.org/stable/43619972. http://www.jstor.org.proxy-um.researchport.umd.edu/stable/pdf/43619972.pdf?refreqid=search%3Ae9a32e3a56c13a57487fafdbe3e5f963 “Collection Online.” Britishmuseum.org, The British Museum , www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1264038&partId=1. 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 Coin of Lysimachos Date A point or period of time associated with an event in the lifecycle of the resource 305-281 BC Creator An entity primarily responsible for making the resource State of the Kingdom of Thrace Medium The material or physical carrier of the resource. Silver Format The file format, physical medium, or dimensions of the resource ca. 3 cm diameter Source A related resource from which the described resource is derived Minted in Lampsacus, (Asia,Turkey,Mysia,Lâpseki,Lampsacus) Rights Holder A person or organization owning or managing rights over the resource. The British Museum, London, England 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. A former general and companion of Alexander, Lysimachus (reigned 305-281 BC) inherited the kingdom of Thrace in Northern Greece, to which he subsequently added parts of Asia Minor (modern Turkey). Description An account of the resource Description: The obverse of this silver coin shows the head of Alexander the Great. His head is shown facing the right, diademed and wearing a ram's horn. Alexander is shown youthful and clean-shaven, as he preferred to be portrayed. He is shown with long locks of hair rising above his forehead with eyes cast upwards. The reverse of the coin portrays the goddess Athena and Nike crowning a name with laurels. This side portrays a seated Athena, the goddess of war, a spear and shield beside her, holding Nike in her outstretched arm. Athena's shield is shown with a lion. The reverse also features a Greek legend which translates 'Of King Lysimachus'. Significance: Alexander's portrait was featured on many coins circulating in the kingdom. Alexander's image stood for an established and dependable empire. The successors of Alexander used his portrait to portray similar beliefs. Lysimachus used the king’s image on his own coins in order to cast himself in the role of successor and legitimize his claim to the kingdom of Thrace. The ram horns that are shown on Alexander's head are "horns of Ammon" symbolizing Alexander's claim that he was the son of Egyptian god Ammon. By alluding to his divine parenthood, he is capitalizing on the Egyptian Tradition in which pharaohs were thought to be gods on Earth. On the reverse, Athena and Nike (Victory) are shown crowning Lysimachus name with laurels, symbolizing victory and honor. This exerts his own royal authority by naming himself "king". Athena is holding a shield to her side with a lion. The lion references Lysimachus's famous exploit of killing a lion with his bare hands and reinforces his association with Alexander, who used the skin of the Nemean lion as a symbol of courage and power. The inscription, translated from Greek, reads "OF KING LYSIMACHUS." References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Petac, Emanuel. “From the Types of Alexander to Lysimachus: The Chronology of Some Mesembrian and Other West Pontic Staters.” American Journal of Numismatics (1989-), vol. 23, 2011, pp. 7–15. JSTOR, JSTOR, www.jstor.org/stable/43619972. http://www.jstor.org.proxy-um.researchport.umd.edu/stable/pdf/43619972.pdf?refreqid=search%3Ae9a32e3a56c13a57487fafdbe3e5f963 “Collection Online.” Britishmuseum.org, The British Museum , www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1264038&partId=1. Contributor An entity responsible for making contributions to the resource Anna Nielsen