1 10 51 https://classicalchopped2.artinterp.org/omeka/files/original/7a8597b0ab6bdfb8e0415c70e177657d.jpg dc36030ffad94c67a1fb815dc42cfbc6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Aged Marcus Aurelius Date A point or period of time associated with an event in the lifecycle of the resource Roman imperial Antonine, c. 180 CE Creator An entity primarily responsible for making the resource unknown Medium The material or physical carrier of the resource. marble Source A related resource from which the described resource is derived House of the Vestals, Roman Forum, Rome, Italy Rights Holder A person or organization owning or managing rights over the resource. Museo Nazionale delle Terme, Rome, Italy Description An account of the resource Description: Statue is a life-sized bust (only head is original) of the philosopher-emperor. Marcus is wearing the full beard that features in all his adult imperial portraits. The hair is thick and curly, swept up from his forehead. There is slight hint of a "widow's peak" at the crown. The expression is sombre, with downcast, fully incised eyes and heavy eyelids The forehead is lined and overall face appears middle-aged. Significance: This portrait bust conforms to "Type 4" of the bearded mature Marcus Aurleius. It marks a return to Roman verism, which excelled at purely mimetic depictions of old age, but with added psychological depth. The age of the portrait appears to match the age of Marcus Aurelius at the time (around 59 years old). The downcast look and unfocused gaze gives the subject an introspective, almost haunted expression that is outstanding in Roman portrait sculpture. Here is a definitive portrait of Marcus Aurlieus as "philosopher king"--the stoic sage contemplating the future of the state from the vantage point of his advanced years and philospical detachment. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Bouzek, Jan. "Artistic and Literary Portraits as Expressions of Changing State of Mind," Roman Portraits Artistic and Literary Acts of the Third International Conference on the Roman Portrait, Verlag Philipp von Zabern, 1989, pp. 101-103. Fittschen, Klaus and Paul Zanker. Katalog der romischen Portrats in den Capitolischen Museen und den anderen kommunalen Sammlungen der Stadt Rom. Band 1, Verlag Philipp von Zabern, 1985, pp. 68-72. Kleiner, Diana. Roman Sculpture, Yale University Press, 1992, pp.271-3. Contributor An entity responsible for making contributions to the resource Mark Weadon Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Marcus Aurelius (b. 121 d. 180 CE) was co-emperor of Rome, with Lucius Verus, from 160-169 CE, and sole emperor from 169-180 CE, succeeding his adoptive father, Antoninus Pius. He was also a philosopher of some renown, writing the Meditations, a statement of his Stoic philosophy. Marcus Aurelius died of natural causes on a military campaign against Germanic tribes, and was succeeded as emperor by his son Commodus. Format The file format, physical medium, or dimensions of the resource 35cm tall (estimated) https://classicalchopped2.artinterp.org/omeka/files/original/7d48d30b7fc301fd41b59a759370c956.jpg cc141c1bf42b8d057d12257118c2f2b9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Akhenaten and Nefertiti Stele Date A point or period of time associated with an event in the lifecycle of the resource 18th Dynasty (New Kingdom), ca. 1345 BCE Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Limestone Format The file format, physical medium, or dimensions of the resource 33.5 cm tall Source A related resource from which the described resource is derived Egypt, Amarna, a private residence Rights Holder A person or organization owning or managing rights over the resource. Staatliche Museum zu Berlin, Ägyptisches Abteilung, Berlin, Germany Contributor An entity responsible for making contributions to the resource Jonathan Clark Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Akhenaten, originally Amenhotep IV, was son of the pharaoh, Amenhotep III, and the father of Tutankhamun. During his reign as pharaoh in the 18th Dynasty (ca. 1350-1336 BCE), he instituted a religious and artistic overhaul. His new religion shifted worship from the pantheon of Egyptian gods to the worship of Aten, the sun disc. The royal family, too, was revered for the unique ability to access Aten. Even so, after his death, the Egyptians restored their original religion, and abandoned the worship of Aten. After his death, his successors defaced and destroyed many of his portraits. Description An account of the resource Description: This stele is emblematic of Amarna period art: the figures are portrayed with elongated skulls, thin necks, slim arms, distended bellies, and spindly calves. Akhenaten is seated on the left; Nefertiti, on the right. Akhenaten and Nefertiti wear some traditional markers of Egyptian power: particularly their crowns and the uraeus found on each. Akhenaten lacks the traditional false beard or nemes, headdress in this scene though. In addition to the royal couple, three of their daughters are present as well, playfully interacting with their parents. Akhenaten tenderly lifts one daughter up to give her a kiss, while Nefertiti holds two daughters: one on her lap, and another on her shoulder. At the top of the panel, the god Aten is represented as the sun disc. From the disc, Aten emits rays of light with ankhs, the life symbol, at their ends. Significance: This stele presents the royal family in an intimate, private setting. At the same time, the stele is steeped with religious symbolism, and is intended to facilitate the transition from traditional Egyptian religion to Akhenaten’s own. Given the domestic context of this piece, it would have been in the hands of a high-class citizen, rather than Akhenaten or Nefertiti themselves. The pharaoh Akhenaten and Nefertiti are portrayed together in relaxed poses, showing tender affection to their daughters. This likely would have an endearing affect on their intended audience, yet at the same time, the stele reinforces the importance of the royal family, not only as leaders, but as the living connection to the god, Aten. It is only through Akhenaten that the god can be accessed, which has led to speculation that the Amarna revolution may have in response to the increasingly powerful high priests within Egyptian society. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Breckenridge, James D. 1968. Likeness; a Conceptual History of Ancient Portraiture. Evanston Ill: Northwestern University Press. 59-61. Wildung, Dietrich, Fabian Reiter, Olivia Zorn, and Ägyptisches Museum (Staatliche Museen zu Berlin). 2010. Egyptian Museum and Papyrus Collection, Berlin : 100 Masterpieces. London: Scala. 81-83. https://classicalchopped2.artinterp.org/omeka/files/original/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/a1d169dd309d24a003a423abe29dcf88.jpg 4ba37e457ba8ac09045ac5c49d037ec4 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 Artemidorus Date A point or period of time associated with an event in the lifecycle of the resource ca. AD 100-200 (Trajanic) Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. plaster and paint, lime wood, gold leaf Source A related resource from which the described resource is derived Faiyum, Hawara, Egypt Rights Holder A person or organization owning or managing rights over the resource. British Museum, London, UK Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. This is a mummy case made of lime wood covered in plaster and paint. The paint depicts the portrait of a young man wearing a white tunic on his body and a gold laurel wreath around his head. He has medium skin and dark hair that are realistic painted. The rest of the case features iconographic scenes relating to funerals and death with depictions of some of the Egyptian gods. The scenes are done in gold on a dark red background. Contributor An entity responsible for making contributions to the resource Nina Cardillo 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 Artemidorus Date A point or period of time associated with an event in the lifecycle of the resource ca. AD 100-200 (Trajanic) Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. plaster and paint, lime wood, gold leaf Format The file format, physical medium, or dimensions of the resource 171cm Source A related resource from which the described resource is derived Faiyum, Hawara, Egypt Rights Holder A person or organization owning or managing rights over the resource. British Museum, London, UK 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 portrait is of the person mummified inside the case, Artemidorus. He was about 18-21 when he died and possibly died from an assault. Description An account of the resource Description: This is a mummy case made of lime wood covered in plaster and paint. The paint was applied using the encaustic method. The paint depicts the portrait of a young man wearing a white tunic on his body and a gold laurel wreath around his head which is the “Crown of Justification”. He has medium skin and dark hair that are realistic painted. The rest of the case features iconographic scenes relating to funerals and death with depictions of some of the Egyptian gods. The scenes are done in gold on a dark red background. There is an inscription that reads “APTEMIΔѠPE EYΨYXI” in Greek or “Farewell, Artemidorus”. One of the scenes is of the god Anubis attending to the mummy with the goddesses Isis and Nephthys on either side of the body. Another shows the God Osiris awakening new life. There is also a boat which refers to the passing of a soul from life to the underworld. Significance: This work is significant because it is an example of the mummy portraits that we have from Hawara. Hawara is a site in Egypt that was excavated and many mummy portraits were found. There are mummy portraits from other sites as well but what is different about the ones from Hawara is they are mostly done on limewood not oak. The mummy portraits were often wood panels cut into arched shapes and done using encaustic, a painting method of mixing pigment with heated beeswax. The limewood panels are significant because limewood was not native to that area and therefore had to be important which shows that the sitters had some sort of wealth or power. The sitters are shown in Greco-Roman dress, hairstyle, and jewelry, despite being from Egypt. This portrait shows a mixing of different cultures with the sitter having a Greek name, it being a Roman-style portrait, and traditionally Egyptian funerary methods and imagery. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. “Catalogue online: mummy-case/cartonnage/human mummy.” The British Museum, Trustees of the British Museum 2017. Web. Accessed 14 Apr 2018. Egan, Emily. “Late Empire.” ARTH488A Ancient Mediterranean Portraiture, University of Maryland, College Park, MD. 10 Apr 2018. Lecture. “Mummy case and portrait of Artemidorus.” The British Museum, Google Arts and Culture. Web. Accessed 14 Apr 2018. Walker, Susan. “Mummy Portraits and Roman Portraiture.” Ancient Faces: Mummy Portraits from Roman Egypt, New York. 2000. pg. 23-25. Print. Contributor An entity responsible for making contributions to the resource Nina Cardillo 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/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/7691373761d1280bfbaabd1068dbeef5.jpg 1baa0a1c09ee36f2277ed5c20726435d Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource BM Head of Alexander the Great Date A point or period of time associated with an event in the lifecycle of the resource late 2nd century BC, Hellenistic Medium The material or physical carrier of the resource. marble Format The file format, physical medium, or dimensions of the resource 37 cm Source A related resource from which the described resource is derived Egypt, Lower Egypt, Nile Delta, Alexandria Rights Holder A person or organization owning or managing rights over the resource. British Museum Creator An entity primarily responsible for making the resource Unknown Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. This is a bust of Alexander III of Greece, more commonly known as Alexander the Great. He was born in 356 BC and is the son of Philip II of Macedon and Olympias. Both of his parents were considered descendants of Greek gods or heroes and thus Alexander has godly ancestors. He was taught by Greek tutors and philosophers including Aristotle. In 334 BC he become the leader of the League of Corinth and he led the army on an extensive campaign throughout Greece, Persia, and Asia Minor. During his campaign he was very successful in battles against the Persians and others becoming well known across Asia Minor and into Egypt as well. One of the legacies of his campaign are the numerous cities named "Alexandria" across the area. He died while on campaign in Babylon when he was only 33 years old. Description An account of the resource Description- This is a bust of Alexander the Great done in the Lysippan style. He has a smooth, youthful face with parted lips and a "melting" glance in the eyes. He has long hair pushed out of his face and up above his forehead in the anastole or cowlick style. Even though we cannot see the rest of his body we can tell that there is a dynamic twist of the head and his gazed is turned upward. While the front of the bust looks mostly clean cut the back does not appear to be completely finished or has been damaged over time. There is no modeling for hair on the back It is believed that the bust may have been attached to a separate body. One can infer that they body was probably a youthful, godlike figure. Significance- This bust is important first and foremost because of the success and power of Alexander the Great. If he had just been another mediocre, or inadequate, leader then there would not be as much emphasis put on his portraits. Portraits of Alexander are also important because he was very concerned with his image and therefore had a team of artists that could depict his likeness, sort of like a PR committee. His sculptor was Lysippos, whose style was copied in this posthumous portrait of Alexander. Alexander wanted to be shown as a divine hero for Greece and all of his portraits show him looking the same way even as he aged. This does not seem that strange to us at first because when we think of portraits today we think of photographs that show someone exactly as they are. However we also see age today and we do not know for sure if these pictures are exactly what Alexander looked like or how he wanted people to think he looked. It is consistent with how he was described in writing from the time period. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Pollitt, J.J. 1986. Art in the Hellenistic Age, Cambridge. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?assetId=1612920373&objectId=460442&partId=1 Contributor An entity responsible for making contributions to the resource Nina Cardillo https://classicalchopped2.artinterp.org/omeka/files/original/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 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/a2b894560adf2645376026fdbbf33890.png 91aaa12d82ace33495c1fc75234434c1 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 Chicago Coin of Antony and Cleopatra 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 Chicago Coin of Antony and Cleopatra Date A point or period of time associated with an event in the lifecycle of the resource 37-33 BCE, Late Republican Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Silver Format The file format, physical medium, or dimensions of the resource Diameter: 2.6 cm Source A related resource from which the described resource is derived Eastern Mediterranean Rights Holder A person or organization owning or managing rights over the resource. The Art Institute of Chicago, 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. Cleopatra VII (69-30 BCE) was the last queen of Egypt, and the last ruler of the Macedonian Ptolemaic dynasty. As ruler, she aligned herself with Julius Caesar, then, after Caesar was assassinated, with Mark Antony. Mark Antony (83-30 BCE) was a Roman tribune who supported Julius Caesar, then after his assassination, formed the Second Triumvirate with Octavian and Lepidus. When the Triumvirate fell apart, Cleopatra and Mark Antony engaged in and lost a civil war with Octavian. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Greuel, Mary. Coin with Portraits of Cleopatra and Mark Antony, Art Institute of Chicago Museum Studies, Vol. 35, No. 2, pp. 34-35. Kleiner, Diana E. E. Cleopatra and Rome. Harvard University Press, May 2009. pp. 131-134. Kroll, John H. The Emergence of Ruler Portraiture on Early Hellenistic Coins: The Importance of Being Divine. Early Hellenistic Portraiture: Image, Style, Context, Peter Schultz, ed. 2014. pp. 113-117. http://www.artic.edu/aic/collections/artwork/194522 Description An account of the resource Description: This silver tetradrachm portrays the queen of Egypt, Cleopatra VII, and her lover, Mark Antony, who exerted control over most of the Roman Eastern Mediterranean. On the obverse of the coin, Cleopatra is featured, in profile, and facing to the right. Around the circumference of the coin, running from her left shoulder to the height of her mouth, there is an inscription that reads ΒΑCIΛICCA ΚΛΕΟΠΑΤΡΑ ΘΕΑ ΝΕΩ(ΤΕΡΑ), or "Queen Cleopatra, the Younger God," above which runs a circular pattern of dots which notes the edge of the stamp used to press the coin into shape. Cleopatra has braided hair: she has four braids of hair curving around the back of her head, which ends in a small braided bun at the end of her diadem, which is portrayed as a simple band. She has curls of hair running from her neck to the top of her head, on which rests a thick curl of hair, under which one wisp of hair curls back towards her forehead. She is also wearing a circular pearl earring, and a necklace which features three lines of pearls: one across the front of her neck, which is bounded on both ends by larger pearls, and two lines of pearls which extend down her dress towards the end of the coin and which curve gently inward. These three lines of pearls form a triangle, in which a small ornamentation in the shape of a "v" rests. Cleopatra is also wearing a dress of some type. Mark Antony, who is featured on the reverse side of the coin, and Cleopatra share many physical characteristics as portrayed on this coin. They both have a long, straight, and cylindrical neck, and they both have a pronounced chin, giving both rulers a small under bite, that extends as far as the tip of their nose, which is flat and hooks down in a straight line, not extending very far from their faces. They have a brow that extends very slightly past their eyes, as well. Their heads are also egg-shaped: the back of their skulls are elongated. Both figures also have an expressionless countenance, evidenced by their blank eyes and inexpressive lips, which seem to connote feelings of respectability and austerity. Mark Antony's portrait on the reverse of the coin, unlike Cleopatra's portrait, does not include his shoulders or the upper portion of his torso; it only features his neck and head. An inscription, ΑΝΤΩΟΝΟC ΑΥΤΟΚΡΑΤΩΡ ΤΡΙΤΟΝ ΤΡΙΩΝ ΑΝΔΡΩΝ, "Antonius, autokrator, third of the triumvirate," runs around the circumference of the reverse side from the back of Antony's neck to the front, and is likewise bounded with a circle of dots. Antony's hair is much simpler than Cleopatra's: it is formed by short locks of hair that point away from the crown of his skull and toward his face. His hair, which appears to be rather thick, reaches from the height of his chin on the back of his head, toward his uncovered ear, and reaches his forehead, with his locks curling to the right, and lifting very gently off of his head. Significance: This coin is both an example of and a deviation from the Hellenistic numismatic tradition. A common trend throughout portraiture in the Ancient Mediterranean was to portray kings and queens, or husbands and wives, with similar characteristics; for example, both Menkaure and his queen share similar facial characteristics. This trend continues on Ptolemaic coins, where, for example, Ptolemy II of Egypt appears with his wife Arsinoe II in a jugate portrait, and they have a similar long nose and protruding chin. This concept of husband and wife sharing physical characteristics is meant to connote a togetherness and oneness between the two individuals. Thus, in this tetracrachm, Mark Antony and Cleopatra are understood to be two members of one political union, who are working in conjunction as both leaders and as lovers. However, one important difference separates this coin from the traditional Hellenistic canon. Usually, as evidenced by the jugate coins of the earlier Ptolemies, the man takes the leading role in the portraiture; he appears in front of his wife, and his physical characteristics are superimposed on her. However, on this coin, there is a mixture of both of these ideas. Cleopatra is represented with many of Mark Antony's facial characteristics, but she appears on the obverse on the coin, while Mark Antony appears on the reverse. This reversal of position is indicative of Cleopatra's power and influence in Egypt. Similarly, because coins were a means by which information could be disseminated in the Ancient Mediterranean, this coin could both be used by Cleopatra to indicate her influence in Egypt and the Eastern Mediterranean, but could also be used by Octavian to show his countrymen what he perceived as the declining morality of Mark Antony, and his increasing disloyalty to the Roman state. This sentiment could also be mirrored by the choice to have the coins inscribed in Greek, the primary language of the Eastern Mediterranean and of Ptolemaic Egypt, rather than the Latin of Rome. Contributor An entity responsible for making contributions to the resource Edward Borders