http://classicalchopped.artinterp.org/omeka/files/original/2ba22c5ca567055ce10b91c0cb34c7ae.jpg 030d0074708b086387dabfb9a15ffbfb 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 Hierapytna Hadrian Date A point or period of time associated with an event in the lifecycle of the resource 120-125 CE Antonine Period Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Marble Format The file format, physical medium, or dimensions of the resource 268 cm Source A related resource from which the described resource is derived Hierapytna – on the island of Crete, Greece Rights Holder A person or organization owning or managing rights over the resource. Archaeological Museum, Istanbul, Turkey References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Future Learn Website:<br />https://www.futurelearn.com/courses/hadrians-wall/0/steps/5086<br /><br />Kleiner, Diana E. E. <em>Roman Sculpture</em>. Yale UP, 1994, 241. Print.<br /><br />Research Gate Website:<br />https://www.researchgate.net/publication/296324135_Bar_Kokhba_and_the_panhellenion_The_statue_of_hadrian_wearing_armour_from_HierapytnaCrete_Istanbul_archaeological_museum_inv_no_50_and_the_cuirassed_torso_inv_no_8097_in_the_piraeus_archaeological_Mus<br /><br />University of Libraries Website:<br />http://digital.library.louisville.edu/cdm/ref/collection/vrc/id/1167<br /><br /> Contributor An entity responsible for making contributions to the resource Ryan Tetter Description An account of the resource Description: The portrait statue of Hadrian as imperator is an over life-size statue of the emperor, who is standing with his left foot on the back of a fallen barbarian. His right arm is missing while his left arm is resting on the left leg – the same leg pinning the barbarian to the ground with his military open-toed boots. He has a beard with a serious look upon his middle-aged face. On his head is a large corona triumphalis with an elaborate jewel set into the center. On his body, he is wearing a cuirass with his paludamentum tied around his shoulder, and his breastplate depicts some key individualizing features. The cuirass itself has four major features: in the center is an armed statue of Athena, who is being crowned with wreaths on both sides by two winged Victories. Athena is standing on the back of a headless Capitoline she-wolf who is feeding both Romulus and Remus. Significance: Hadrian, like Trajan before him, is yet another ruler who does not age in his portraits. He seems to have picked an age (forty years old) for his portraits and stuck with it. The depiction of Hadrian standing over a downtrodden Dacian barbarian is significant since it is perhaps a literal representation of conquest. In this instance, it is a metaphor for stepping on a conquered population. This is a very clear illustration of Hadrian’s accomplishments as a military commander. Hadrian’s military accomplishments are further exemplified in the figural decoration of his cuirass because it expresses Hadrian’s political philosophy. The scene can be interpreted as the triumph of Graeco-Roman civilization over the barbarian world outside the borders of the Roman Empire. In this case, Athena (symbolizing Athens) is standing on the back of the she-wolf who suckles Romulus and Remus (Rome). The Victories in the scene symbolize military victory (conquest style victory). From this depiction, it can be interpreted that Rome is essentially propping up the Greek world; the once great Greek world is now reliant on Rome for its sustenance and power since Rome is now the foundation in this united ideal. Hadrian’s own outlook on the empire is showcased on his cuirass, giving the revival of the glory that was once Classical Greece. It is also important to note that the imagery of this cuirass is so thoroughly identified with Hadrian that even when a headless statue depicting the same scene was discovered in the past, it was confidently identified as a portrait statue of Hadrian.