1 10 51 https://classicalchopped2.artinterp.org/omeka/files/original/c56a801b27694aebbd83b61fa998c78c.png eea8af79b9196d59566d9d725dcda826 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 Standing Demosthenes Date A point or period of time associated with an event in the lifecycle of the resource c. 1st century CE Roman copy modeled on 280 BCE Greek original Creator An entity primarily responsible for making the resource Polyeuktos Medium The material or physical carrier of the resource. Marble (Roman copy), Bronze (Greek original) Format The file format, physical medium, or dimensions of the resource 2.02 m with plinth, 1.92 m without Source A related resource from which the described resource is derived Purportedly in Campania, Italy Rights Holder A person or organization owning or managing rights over the resource. Ny Carlsberg Glyptotek, Copenhagen, Denmark References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Johansen, Flemming. 1992. Catalogue Greek Portraits Ny Carlsberg Glyptotek. 84-87. Pollitt, Jerome J. 1986. “Personality and Psychology in Portraiture.” In Art in the Hellenistic Age. Cambridge University Press. Richter, Gisela M. 1984. The Portraits of the Greeks. Cornel University Press. 108-113. 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. Demosthenes (c. 384-322 BCE) was a renowned Athenian orator with roughly 60 of his orations extant. political career in Athens is characterized by his strict opposition to the Macedonian empire, its sympathizers in Greece such as Aeschines, and its suppression of Greek liberty. He overcame much hardship in his life including physical infirmity, a speech impediment in his youth, the death of his father at age 7, and exile at the hands of political opponents. After the death of Alexander the Great in 323 BCE, Demosthenes organizes an unsuccessful attack against the Macedonian empire, the Lamian War, and commits suicide to prevent his capture. Description An account of the resource Description Demosthenes stands with his right foot advanced, his body leaning forward, and his head turned slightly downward. He wears traditional Greek clothing with a himation that falls in delicately rendered folds wrapped around his body. He is an aged man with a receding hairline, some wrinkles on his forehead, crow’s feet, pronounced labionasal lines, and contracted eyebrows yielding a dramatic furrow. His nose is straight, and his mouth is almost entirely obscured by his facial hair. His mustache is thick and connected to his beard, which itself is rendered with many small curls of hair. The statue has undergone some renovations: his nose, the back of his neck, all the toes on his left foot, and two toes on his right foot have been redone. More interestingly his hands have also been restored. The original restoration had him holding a scroll between his two hands, a fitting attribute for an orator. This restoration, however, was revised following a description of the statue offered in Plutarch’s Parallel Lives, which seems to be more correct. His hands are now interlocked, seemingly as if he is wringing them with worry. Significance The original sculpture was dedicated in 280 BCE, and is therefore firmly within the Hellenistic Age of Greek art. Accordingly, the statue evokes many of the common features of Hellenistic art including an attempt to render the innermost feelings of the figure in a so-called psychological portrait. Demosthenes’ expression is intense and evocative of both a life full of hardship and his anxieties related to the subjugation of Greece by Macedon. Contrasted with a Classical role portrait, his body itself conveys a lot of information him as an individual, rather than as an idealized orator-type, especially seen in the wringing of his hands. The statue was erected as a commemorative monument to Demosthenes by a relative of his after the Greeks themselves had largely freed themselves from Macedonian control. An accompanying inscription celebrated Demosthenes’ lifelong devotion to Greece and resistance to the Macedonians. The statue, then, seems to memorialize a lifetime of public service, justifying its creation at public expense, while also realistically rendering a man whose life was full of hardship, and offering a purview into the mind of a famous individual. 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 Standing Demosthenes Date A point or period of time associated with an event in the lifecycle of the resource Republican, ca. 1st century CE; copy of a Hellenistic work, ca. 280 BCE Creator An entity primarily responsible for making the resource Copyist unknown; Polyeuktos, original artist Medium The material or physical carrier of the resource. Marble; original in Bronze Format The file format, physical medium, or dimensions of the resource 2.02 m with plinth, 1.92 m without Source A related resource from which the described resource is derived Italy, Campania Prior to 1770, it was displayed in Naples, Italy in the Palazzo Columbrano. Afterwards, it was relocated to Kent, England in Knole Park before acquisition by the Ny Carlsberg Glyptotek in 1929. Rights Holder A person or organization owning or managing rights over the resource. Ny Carlsberg Glyptotek, Copenhagen, Denmark 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. Demosthenes (c. 384-322 BCE) was a renowned Athenian orator with roughly 60 of his orations extant. His political career in Athens is characterized by his strict opposition to the Macedonian empire, its sympathizers in Greece such as Aischines, and its suppression of Greek liberty. He overcame much hardship in his life including physical infirmity, a speech impediment in his youth, the death of his father at age 7, and exile at the hands of political opponents. After the death of Alexander the Great in 323 BCE, Demosthenes organized an unsuccessful attack against the Macedonian empire, the Lamian War, and committed suicide to prevent his capture. Description An account of the resource Description Demosthenes stands with his right foot advanced, his body leaning forward, and his head turned slightly downward. He wears traditional Greek clothing with a himation that falls in delicately rendered folds wrapped around his body. He is an aged man with a receding hairline, some wrinkles on his forehead, crow’s feet, pronounced nasolabial lines, and contracted eyebrows yielding a dramatic furrow. His nose is straight, and his mouth is almost entirely obscured by his facial hair. His mustache is thick and connected to his beard, which itself is rendered with many small curls of hair. The statue has undergone some renovations: his nose, the back of his neck, all the toes on his left foot, and two toes on his right foot have been restored. His hands have also been restored. Originally, Demosthenes held a scroll, a fitting attribute for an orator. This restoration, however, was revised following a description of the statue offered in Plutarch’s Parallel Lives, which seems to be more correct. His hands are now interlocked, seemingly as if he is wringing them with worry. Significance The original sculpture was dedicated in 280 BCE, and is therefore firmly within the Hellenistic Age of Greek art. Accordingly, the statue evokes many of the common features of Hellenistic art including an attempt to render the innermost feelings of the figure in a so-called psychological portrait. Demosthenes’ expression is intense and evocative of both a life full of hardship and his anxieties related to the subjugation of Greece by Macedon. Contrasted with a Classical role portrait, his body itself conveys a lot of information him as an individual, rather than as an idealized orator-type, especially seen in the wringing of his hands. The statue was erected as a commemorative monument to Demosthenes by a relative of his after the Greeks themselves had largely freed themselves from Macedonian control. An accompanying inscription celebrated Demosthenes’ lifelong devotion to Greece and resistance to the Macedonians. The statue, then, seems to memorialize a lifetime of public service, justifying its creation at public expense, while also realistically rendering a man whose life was full of hardship, and offering a purview into the mind of a famous individual. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Johansen, Flemming, and Ny Carlsberg Glyptotek. 1992. Greek Portraits : Catalogue, Ny Carlsberg Glyptotek. Copenhagen: Ny Carlsberg Glyptotek. pp. 84-87. Pollitt, Jerome J. 1986. “Personality and Psychology in Portraiture.” In Art in the Hellenistic Age. Cambridge University Press. pp. 59-63. Richter, Gisela M. 1984. The Portraits of the Greeks. Cornel University Press. pp. 108-113. Contributor An entity responsible for making contributions to the resource Jonathan Clark https://classicalchopped2.artinterp.org/omeka/files/original/7df9c7b56664145500de615c1d96fac5.jpg 5d307785f05e1b33e75a61c90d31ec06 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 Head of Lysimache Date A point or period of time associated with an event in the lifecycle of the resource Classical, 380-350 BCE (original). Creator An entity primarily responsible for making the resource Demetrios of Alopece (original) Medium The material or physical carrier of the resource. Roman marble head, copy of a full-body Greek bronze 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. Lysimache was a priestess of Athena Polias in the mid 5th century BCE. She was priestess for 64 years and lived to age 88. Description An account of the resource Description: The face of this near life-sized bust is severely damaged, with much of the nose and upper lip missing. Still, sufficient evidence remains to characterize her age and physiognomy. The head thrusts forward, with the neck at an angle. Heavy bags appear under Lysimache's deep set eyes. Her cheeks, forehead, and neck are deeply creased. Loose folds of skin hang from her jaw. Her expression is serious and careworn. Both earlobes are pierced to hold ornaments. A ribbon (fillet) surrounding her head marks her as a priestess about to perform a religious ritual. Her short wavy hair is parted in the middle. A statue base found on the Acropolis, thought to be for the bronze original, has the following inscription: [This . . . Lysimache<a href="https://www.atticinscriptions.com/inscription/IGII2/3453#note-1"></a>] was by her descent<a href="https://www.atticinscriptions.com/inscription/IGII2/3453#note-2"></a> (daughter) of Drakontides; she completed [eighty-eight] years; . . . sixty-four years she [served] Athena and lived to see four [generations] of children. [Lysimache] mother of - [Demetrios] made it. The inscription makes no mention of the donor. Most scholars assume it was commissioned by the demos of Athens after Lysimache's death in recognition of her long service. Significance: This marble copy is an example of Late Classical realism, eschewing idealization of earlier classical Greek sculpture, which typically rendered women as uniformly youthful and beautiful. The serious face conveys deep character; the forward thrust of the head expresses an almost aggressive sense of status. However, whether this stands as as accurate portrait of a known historical personage still remains up for question. Descriptions of the sculptor Demetrios's other works (none of which survive) indicate he specialized in exaggeration and caricature. Lysimache's status as a cult priestess makes the unflinching portrayal of old age appropriate to the gravitas of her position. If not an exact likeness, it can be read as a genre portrait of a woman whose priestly function comports with age and experience. Source A related resource from which the described resource is derived Under a pavement in Tarquinia, Italy. Bronze original sited on Acropolis, Athens, Greece. Rights Holder A person or organization owning or managing rights over the resource. The British Museum, London, England References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Breckenridge, J.D. Likeness: A Conceptual of Ancient Portraiture, Evanston, 1968, pp. 99-101. Dillon, Sheila. The Female Portrait Statue in the Greek World, Cambridge University Press, 2010, pp. 24, 27, 50-51. Keesling, Catherine. "Syeris, Diakonos of the Priestess Lysimache on the Athenian Acropolis," Hesperia, vol. 81, no. 3, 2012, pp. 467-505. Richer, Gisela. The Portaits of the Greeks, Phaidon Press, 1965, pp. 158-159. Schefold, Carl. The Art of Classical Greece, Crown Publishers, 1966, pp. 231-232. Contributor An entity responsible for making contributions to the resource Mark Weadon Format The file format, physical medium, or dimensions of the resource 37.5 cm tall 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/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/677447fe49372294ca2bdfb94f6ec7c9.jpg 1d993d9f5da5713e95f66c956cf4e65c 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 Coin of Octavian and Caesar Date A point or period of time associated with an event in the lifecycle of the resource around 38 BC, Roman Republic Medium The material or physical carrier of the resource. Copper alloy Format The file format, physical medium, or dimensions of the resource weight: 23.39 grams Source A related resource from which the described resource is derived Minted in: Europe, Italy 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. This coin features Octavian and the deified Caesar. Caesar was a Roman politician and general during the events that led to the demise of the Roman Republic and the rise of the Roman Empire. He was deified in 42 BC by the senate and was the uncle of Octavian. Octavian was the first Emperor of the Roman Empire, controlling Imperial Rome from 27 BC until his death in AD 14. Description An account of the resource Description: This copper alloy coin features on its obverse, the head of Octavian facing to the right. He is bearded and is surrounded by an inscription reading CAESAR DIVI F in Latin with the inscription content facing downwards. His neck is elongated, almost reaching the bottom of the coin. He has a broad head featuring comma locks and is portrayed youthfully. His face is stern with a large eye. He has a pointed nose and a small chin. His chin has a short beard of mourning. The reverse features the head of Julius Caesar facing to the right wearing a laurel wreath. His hair is short and straight. The inscription reads DIVOS IVLIVS. His face is stern with large eyes and a large ear. He has a pointed nose and chin with a clean-shaven face. Both sides of the coin contain a boarder of raised dots. Significance: The father-son connection of Octavian and Caesar is portrayed by the inscriptions, Caesar is titled "Julius the god" and Octavian is titled "Caesar son of the god". On coinage, he uses the term DIVI IVLI F (son of the divine Julius) to emphasize the link between Caesar's divinity and himself. Caesar on this coin is deified and was proclaimed a god by the Senate in 42 BC. The coin features symbols of victory the laurel crown, suggesting that they were made after Actium in 31 BC. However, other scholars note that in 36 BC Agrippa, Octavian's forces won a great sea victory off Sicily in a battle for political power. The symbols of victory could refer to his Actium victory, or to victories of an earlier date, making, such as this coin difficult to have a precise date. This coin demonstrates the propagandistic capacity of Rome's coinage. It was used as a tool by Octavian to advertise his adoption as Caesar's son and attests his claim to power. His coin follows the tradition set by Caesar of the inclusion of the living on the coinage. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. "Coin." British Museum, The British Museum , www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=1193367&partId=1. Kleiner, Diana E. E. Roman Sculpture . Yale, 1994. Contributor An entity responsible for making contributions to the resource Anna Nielsen Creator An entity primarily responsible for making the resource Roman Republic under Octavian 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 https://classicalchopped2.artinterp.org/omeka/files/original/ea9fd99d8b027ed0a9d7cc827934ff02.jpeg ef12e2fa6956f18ee509f8fbe9b3dc93 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 Bust of Nefertiti Date A point or period of time associated with an event in the lifecycle of the resource Dynasty 18, New Kingdom, ca. 1340 BC Creator An entity primarily responsible for making the resource Thutmose Medium The material or physical carrier of the resource. Limestone with modeled gypsum, crystal, and wax 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 Egypt, Amarna, workshop of the sculptor, Thuthmose Rights Holder A person or organization owning or managing rights over the resource. Neues 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. Nefertiti was the wife of Pharaoh Akhenaten during the 18th Dynasty of the New Kingdom of Egypt. She was mother to six daughters and the step-mother of Tutankhamun, the next pharaoh of Egypt. Her and her husband changed Egypt religion into a monotheistic religion worshipping the sun disk god, Aten, and moved the capital of Egypt to Amarna. Description An account of the resource Description: The bust depicts Queen Nefertiti's head, neck and chest. The extent of her chest does not go past her ears and ends just above her breasts. A gold collar necklace hangs around her neck with red, blue, and green floral decorations. Her skin is painted a golden, brown color. She has a long, slender neck jutting forward, leading up to her head. Her face is completely symmetrical, with a serene expression and a very subtle smile. There are lines on either side of her mouth, which is painted reddish-brown. Her eyes look straight ahead with only her right eye fully inlaid. The iris is black wax with a quartz pupil painted black. Her left eye remains untouched limestone. Her eyes are decorated with the typical black makeup to resemble kemet, with the inner corner of her eyes downturned. She wears a special crown, unique to Nefertiti. It is painted a deep blue and flattened on top. There is a painted ribbon wrapping horizontally around the crown and knotted at the back with the ends wrapping back around towards the front. The ribbon is painted in alternating red and green blocks of color. On the front, middle of the crown is a sculpted uraeus that goes back onto the top of the crown, now broken off. Her ears have been pierced and have also suffered from damage. Significance: The bust found in the workshop of the sculptor, Thutmose, leads to the claim that this bust was an artist's model for producing portraits. This is further supported by the fact that only the right eye was inlaid. The left eye was intentionally unfinished to show other artists how to carve her eye to allow for the inlay of wax and quartz. By jutting her head forward, her neck is elongated and emphasized. This bust also shows more individualization of the queen, different from past portraits that were idealized. The face lines around her mouth show age, and the painted canthus is an attempt to imply the folded flap of skin of the inner eye. These attempts at realism move away from the idealized youthful portraits of the past. Another feature of individualization is her flat-top crown, which is unique to Nefertiti portraits. The black eye makeup is a typical feature of Egyptian portraiture to represent kemet, the black earth of the Nile banks and its fertility. Her reddish-brown skin is indicative of masculine abilities, putting her on par with Akhenaten, moving her role from supporting him to playing a bigger role in ruling Egypt. They were both children of Aten and divine rulers together. Her crown was meant to hold the uraeus, further illustrating her power and her ears were pierced to wear jewelry and show her wealth. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. http://www.egyptian-museum-berlin.com/c53.php Tharoor, Isaac. "The Bust of Nefertiti: Remembering Ancient Egypt's Queen." TIME Magazine. Time, 12 Dec. 2012. Web. 11 Feb. 2018. Ertman, Earl L. “Nefertiti's Eyes.” Archaeology 61.2 (2008): 28–32. Print. Contributor An entity responsible for making contributions to the resource Isabella Laurel https://classicalchopped2.artinterp.org/omeka/files/original/603e92b04ebff40f4eb256f9790c3cf1.jpg 5806d7fb20d2df9406c5fc970c7830d8 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 Hemiunu Seated Date A point or period of time associated with an event in the lifecycle of the resource 4th dynasty (Old Kingdom), ca. 2570 BC Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Limestone with traces of paint and paste inlay Format The file format, physical medium, or dimensions of the resource 155.5 cm tall Source A related resource from which the described resource is derived Egypt, Giza, Western Cemetery, serdab of mastaba G 4000 Rights Holder A person or organization owning or managing rights over the resource. Roemer - und Pelizaeus - Museum in Hildesheim, Germany References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Breckenridge, J. D. Likeness: A Conceptual History of Ancient Portraiture, Northwestern University Press, 1968, p. 42. Allen, J. P. et al. Egyptian Art in the Age of the Pyramids. Metropolitan Museum of Art, 1999, pp. 229-231. Fischer, H. G. "An Elusive Shape Within the Fisted Hands of Egyptian Statues," Metropolitan Museum Journal 10, 1975, pp. 9-21. http://www.rpmuseum.de/english/egypt/egypt-articles.html https://archaeologyatrandom.wordpress.com/hemiunu/ Description An account of the resource Description: The portrait of "Hemiunu Seated" depicts a lifesize male figure seated on a block of stone, with his legs together and both hands resting on his thighs. The shoulders and hips are in axial alignment, and the figure exhibits strict frontality, giving the overall portrait a block-like appearance. His left hand rests flat, palm downward, while his right hand (partly restored) is curled in a fist and holds an enigmatic cylindrical object (possibly a piece of folded cloth). The fingernails and knuckle wrinkles of both hands are finely rendered. The figure wears a short kilt knotted at the waist. His legs and arms are full and fleshy, as is his torso, which features large breasts, a heavy belly with a crushed navel, and rolls of fat along his back. The hair on the figure's head is close-cropped and smooth, imitating the texture of his skin. The figure has a sagging chin, and a thin, closed mouth. The figure's eyes and nose are heavily restored; the eyes may have originally been crafted from quartz with gold casings. With the restorations in place, the statue's face is demonstrably serene. The sitter's titles are listed in hieroglyphs on the upper surface of the block beneath his feet. The characters are carved in sunken relief and filled with colored paste. Traces of color on other parts the statue indicate that it was once painted. Significance: As rendered by the ancient artist, this large, and very heavy (ca. 1 ton) portrait of Hemiunu conveys the sitter's high social status. His frontal pose, facial serenity, and youthful features echo pharaonic portraits, while his fleshy body indicates that he was wealthy and well-fed. It has been argued by scholars that the rolls of fat on Hemiunu's torso are characteristic of a person of much larger size, suggesting that these elements were added as markers of status rather than as accurate reflections of the sitter's physical body. This incongruity aside, Hemiunu's face and body still give the impression of a specific individual rather than a generic "type," situating it among other relatively "realistic" portraits of the Old Kingdom such as the "reserve heads" from selected 4th Dynasty tombs. As discovered by Herman Junker in 1912, the portrait of Hemiunu was secreted away in a serdab in the sitter's mastaba tomb (among the largest constructed at Giza) where it received offerings (through a small opening in the wall) that helped Hemiunu to achieve life after death. Despite this ancient attempt to protect the statue, tomb robbers broke into the chamber during the Roman period and damaged Hemiunu's portrait - a lamentable, yet all-too-common fate of many examples of Egyptian funerary art. Contributor An entity responsible for making contributions to the resource Professor Emily Egan 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. Hemiunu was nephew and vizier to the 4th Dynasty pharaoh Khufu in the mid third millennium BC. He is purported to have been the architect of Khufu's Great Pyramid at Giza, next to which he (Hemiunu) was buried. He was the son of Prince Nefermaat and Itet, grandson of the 3rd Dynasty pharaoh, Snefru, and held many official titles including "Priest of Bastet" and "Master of Scribes." https://classicalchopped2.artinterp.org/omeka/files/original/2d6a4536e74946e0f5901292a28bdc35.JPG 46ea6e24d772b0886a7e835518c7fef3 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 Seneb and Family Date A point or period of time associated with an event in the lifecycle of the resource 6th Dynasty (Old Kingdom), 2520 BC Medium The material or physical carrier of the resource. Painted limestome Format The file format, physical medium, or dimensions of the resource 34 cm tall References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://link.springer.com/article/10.1007/s40618-015-0396-2#Fig1 el-Shahawy, A. (2005). The Egyptian Museum in Cairo A Walk through the Alleys of Ancient Egypt (pp. 75-76). Cairo, Egypt : Farid Atiya Press. Retrieved February 25, 2018. Smith, W. S., & Simpson, W. K. (1998). The Art and Architecture of Ancient Egypt (p. 72). N.p.: Yale University Press. Hawass, Z. (n.d.). Inside the Egyptian Museum (pp. 88-89). Cairo, Egypt : The American University in Cairo Press. Arnold, D. (n.d.). Old Kingdom Statues in their Architectural Setting (pp. 41-46). Creator An entity primarily responsible for making the resource Unknown Source A related resource from which the described resource is derived Egypt, Giza, Western Cemetery, Mastaba #G1036 Rights Holder A person or organization owning or managing rights over the resource. The Egyptian Museum of Cairo, Egypt Contributor An entity responsible for making contributions to the resource Ryan Milley 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. Seneb, a dwarf, lived during the Egyptian Old Kingdom and was of great importance. Seneb was, according to scholars, responsible for the royal wardrobe and was the chief of all of the palace dwarfs. Additionally, scholars state that Seneb was the chief priest for the funerary temples of Cheops (Khufu) and Djedefre (son of Khufu). Senetites (also known as Senet), wife of Seneb, was the Priestess of Hathor and Neith. Together, Seneb and Senetites had, as depicted in the statue, a son and daughter. While they were not of royal lineage, they were of the elite class as they were buried in a mastaba in the Western Cemetery of Giza located near the Great Pyramid of Khufu. Description An account of the resource Description: The statue group is composed of four limestone figures (2 men and 2 women) and a limestone block. The larger man and woman are sitting on the block and the children are standing/leaning on the block. The limestone is polychromatic, meaning that it is of many colors; the statue group consists of various colors (blacks, whites, tans, and reds). The men have the red, dark skin tone and the women have the white, lighter skin tone. Overall, the statue group has a mainly closed silhouette, for the exception of the open space between Seneb and his wife. The statue is under life size. The seated man, Seneb, is smaller than woman sitting with him. He is a dwarf as his head and arms are proportionally sized and his legs are of a smaller size. As mentioned above, he has a red/brown skin tone with a full head of black hair on his head. His eyes have no trace of pupils and are a white/tan color. He is wearing a white kilt and he is seated with his legs criss-crossed physically on the top of the limestone block. His arms are roughly at a ninety-degree angle facing inward where the hands meet in front of his chest. Seneb appears to be slightly fleshy in the stomach region. The seated woman, Senetites, has a fully proportional body compared to that of Seneb. She is sitting to the left of the seated man. She is wearing a white dress that is closely fitted to her body. Senetites is also wearing a heavy black wig with traces of her real hair sticking out in the front of the wig. She appears to have a slight smile on her face. Her right arm is behind Seneb's back and her right hand rests on his right shoulder. Her left arm is in front of her chest and her left hand is holding husband's left elbow. Both of her feet are on the ground. There appears to be some damage, a slash, on her left arm. Directly underneath the Seneb stand his two children. As mentioned above, there is a dark skinned figure indicating a boy and light skinned figure indicating a girl. The boy has black hair with a side ponytail on the right side. The girl, like the boy, also has black hair with the ponytail. Both children have a finger in their mouths and both are nude. Both are also very small in size. There is hieroglyphic writing on both sides of the children as well as on the bottom of the limestone block where the feet are resting. Significance: The fact that Seneb and his family were buried in a mastaba in the Western Cemetery signifies that they were of the elite class, were wealthy, and were of some importance to the royal families. It was located in a closed chest that would have acted as a serdab, a room and/or place were the Ka, or the lifespark, could inhabit the bodies of the dead. In this case, the Ka immortalizes Seneb and his family. Seneb’s cross-legged position on the block indicates that one of his held offices might have been as a scribe similar of the pose seen on the Seated Scribe statue. Seneb is positioned further ahead on the block than that of his wife suggesting that he is more important and/or has more power in the family unit. His wife is depicted as being very supportive of her husband. Senetites is holding his left arm and right shoulder which provides a sense that she is comforting her husband. Additionally, at a different angle one can observe that she is placed slightly further back than that of Seneb telling us that he is of greater importance and she is there more or less for support. She is wearing a black, heavy wig that was a typical part of elite fashion. She has a small smile on her face which might signify that she is happy with her life, husband and family, and her role. The children of Seneb and his wife might seem awkwardly placed, however the placement is intentional. The children are oddly small, but are located in the position where Seneb’s legs would have been if he were not a dwarf. This is important in that the children sort of normalize the look of the statue group as it almost appears that Seneb has fully grown legs. The statue group also creates a sense that the Egyptian culture accepted dwarfs and that being a dwarf might not have been seen as a deformity. https://classicalchopped2.artinterp.org/omeka/files/original/67123a5eeb254518ceac00a0fd64b5fa.jpg 3653957ace0906a5885ef060ed8449eb 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 Bust of Ankh-haf Date A point or period of time associated with an event in the lifecycle of the resource Egyptian 4th Dynasty, Old Kingdom (ca. 2520-2494 BCE) Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. limestone base covered with plaster and painted red Source A related resource from which the described resource is derived Egypt, Giza, Western Cemetery, Mastaba of Ankh-haf, tomb G 7510 Rights Holder A person or organization owning or managing rights over the resource. Museum of Fine Arts in Boston, MA 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. Ankh-haf was an official in the 4th dynasty of Egypt. He is most likely the son of Sneferu, an Egyptian king. Ankh-haf served as an official for Khafre as an overseer of works such as the second pyramid at Giza and the carving of the Great Sphinx. Format The file format, physical medium, or dimensions of the resource 50.48 cm tall Description An account of the resource Description: The Bust of Ankh-haf is a statue made from limestone and plaster that has been painted red. The eyes have also been painted to give them a life-like quality. The realistic quality can also be seen from the rendering of the musculature on the should, chest, and back. It is of a man from the chest up with missing arms. The arms are broken because the statue was most likely part of a false door for offering at the Mastaba of Ankh-haf. The bust shows a more realistic and less idealized portrait of Ankh-haf because there are bags under his eyes, age lines in his face, and a receding hairline. There is damage to the nose, forehead, chin, and ears that were already present when the bust was found. It is believed that this damage was intentionally done to deface the spirit, or ka, of the statue. There are also scratches where the red coloring has come off on the back of the statue. One of the notable qualities of the bust is the bulb-shaped head. Significance: One of the important pieces of knowledge that this bust teaches scholars is the role of skin color in ancient Egypt. The Bust of Ankh-haf is painted red, however this is not an indication that he is of a particular race or ethnicity. The red coloring is an indication that this is a male figure. Typically men were depicted with red or brown tones and women were depicted with tan or yellow tones. Another reason that this work is so significant is because of how life-like it is. There is very careful attention paid to the rendering of the face. Viewers can see the bags under the eyes and lines around the mouth and nose to show aging. The lips are also incredibly lifelike. The fact that it is so stylized shows that this is not a royal as royal figures during this time were shown in an idealized manor. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Bolshakov, Andrey. ""What Did the Bust of Ankh-haf Originall Look Like?" Journal of the Museum of Fine Arts, Boston, vol 3, 1991, pp. 4-14. Breckenridge, J. D. 1968, Likeness: A Conceptual History of Ancient Portraiture, Evanston. pp. 35-45. Print. "Bust of Prince Ank-haf". Museum of Fine Arts Boston. mfa.org. Web. Accessed February 12, 2018. Contributor An entity responsible for making contributions to the resource Nina Cardillo