2 10 53 http://classicalchopped.artinterp.org/omeka/files/original/6ad3bd90b87ad4e8248a3d74ad4e529b.jpg f6749fb1295c69a9a648993c0d267162 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 Senenmut and Neferure Date A point or period of time associated with an event in the lifecycle of the resource 18th Dynasty, ca. 1479 B.C., reign of Hatshepsut Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Granodiorite Format The file format, physical medium, or dimensions of the resource 72.5 cm tall Source A related resource from which the described resource is derived Reputedly from Egypt, Karnak (Thebes), Temple of Amun 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. "Image gallery: statue." British Museum. N.p., n.d. Web. 28 Feb. 2017. <http://www.britishmuseum.org/research/collection_online/collection_object_details/collection_image_gallery.aspx?partid=1&assetid=30431001&objectid=119654>. Smith, William Stevenson. The art and architecture of ancient Egypt. New Haven: Yale U Press, 1999. 126-127. Print. Description An account of the resource Description: The portrait “Senenmut and Neferura” depicts a man sitting on a stone block while holding a young girl on his lap. Both figures’ shoulders and hips are aligned and are front facing. The man’s feet, peeking out from the bottom of the robe, are next to each other and sitting against the stone block. They are both wrapped in a robe which obscures many of the details of their bodies giving the sculpture a solid, block-like appearance. Aside from the figures’ heads, Senemut’s hands and feet are the only visible body parts. Even so, his hands seem to melt into the fabric. His ankles and feet, however, follow the Egyptian traditional style. They are thick, block-like and lack a sense of naturalism or definition. The faces of each figure are idealized, so it is only through the incised inscriptions that the man and child have been identified as Senenmut and Neferura respectively. Senenmut is portrayed as a young man, with a smooth, calm face and wearing a headdress. Neferura’s face seems to be rendered in a nearly identical style. However, she also features some of the conventions of Egyptian youth. She has a sidelock, or a long piece of hair on the right side of her head, and she is holding her pointer finger against her mouth. This combined with her size signify that she is a child. The rest of her body is covered by a long robe that Senenmut is holding in his right hand while his left hand holds her securely. There are inscriptions listing Senenmut’s titles and association with the Pharaoh incised in hieroglyphics down the front of his robe, as well as along either side of the block next to his legs. The statue is polished giving it a generally smooth texture. However, the block on which the figures are sitting is slightly broken along both the front edge and top right corner. Significance: This portrait of Senenmut and Neferura depicts two important figures in Egypt’s history, both closely associated with famed Pharaoh, Hatshepsut. Senenmut was one of the highest-ranking officials during her reign, as well as the architect of her elaborate funerary temple. Neferura was her daughter. It appears that this statue is meant to emphasize the older male figure’s political position. The frontal, seated pose and overall style mimics portraits of earlier Pharaohs. Senenmut’s size alongside the fact that Neferura seems to melt into the robe makes Senenmut the clear focal point. Some scholars suggest that this pose is meant to show Senenmut as being protective over Neferura. Others suggest that the post is simply meant to emphasize his claim to political power. The incised inscriptions further emphasize Senenmut’s political position, naming him as the Chief Steward of Neferura. Another inscription states that this statue was commissioned by Hatshepsut herself, further linking the two. Interestingly, in this inscription, Hatshepsut is referred to as “The God’s Wife”. This suggests that the statue was commissioned before Hatshepsut named herself Pharaoh rather than co-regent of her step-son. Twenty years after Hatshepsut’s death, her step-son defaced her statues and removed any record of her from the Kingdom. However, her name remains intact on this statue. It has been suggested that this statue was buried in a cache before the period of destruction. The supposed cache from which this statue is said to have been found has been debated, however. Nonetheless, the subjects themselves, as well as the rare level of preservation of Hatshepsut’s name, makes this a fascinating example of Egyptian art. Contributor An entity responsible for making contributions to the resource Becca Peters http://classicalchopped.artinterp.org/omeka/files/original/63265bd9cf80fb03990d1a5f49e507a3.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 Roman, ca. 2nd century AD; copy of a Classical work, ca. 430 BC Creator An entity primarily responsible for making the resource Attributed to Phidias Medium The material or physical carrier of the resource. Marble Format The file format, physical medium, or dimensions of the resource 190 cm tall Source A related resource from which the described resource is derived Italy, Provence of Salerno, Monte Calvo, Sabine Mountains Rights Holder A person or organization owning or managing rights over the resource. Ny Carlsberg Glyptotek, Copenhagen, Denmark Description An account of the resource Description: Anacreon is a marble sculpture depicting a full length male figure. The figure is nude, with the exception of drapery covering his shoulders and some of his back as well as the sides of the torso. His musculature is developed, similar to that of an athlete, with defined abdominal muscles and a visible iliac crest. The figure’s arms are slightly raised, but a portion of the figure’s left arm as well as the right hand have been damaged and are missing. His right arm reaches outward and upward toward the head, while the left arm is pointed downward. The positioning of the arms suggests he was playing an instrument or holding a wine cup. He stands in dynamic contrapposto, his right knee bent and his hips tilted. His left leg rests upon a small tree trunk for support, an element that would not have been present in the bronze original. The figure’s head is tilted upward. He has a full beard formed of locks of individual curls, and his hair is similar in texture. The top portion of his head is damaged and is severed off, but much of his thick hair and all of his face is still visible. The figure’s eyes are hollow and his expression is slightly contemplative and pensive, showing little emotion. The face itself is idealized with smooth, polished skin and a narrow nose. Significance: Anacreon was a lyric poet whose works would have been heard at symposia. The sculpture alludes to this in the gesture of the figure’s arms that suggests playing an instrument, such as a lyre, or holding a wine cup typical of one used at a symposium. The face is generalized with few identifying features, which is why the sculptor relies on the attribute of a lyric poet (the lyre) in order to convey Anacreon’s character. In addition, it has been suggestion that the dynamic pose of the figure, such as the jaunty tilt of his head and pronounced contrapposto, is representative of intoxication, another illusion to the symposium where his work would have been read. In this sense, the figure’s body illustrates the nature of Anacreon more so than his face, which is idealized and mask-like with few individualizing details or features suggesting close likeness. Scholar J.J. Pollitt proposes that, “It is the poet Anacreon, more than the man Anacreon, that is presented to the viewer.” The figure also takes on the guise of an athlete or heroic figure with the nude, muscular body. While Anacreon was a poet rather than an athlete, his body may have been depicted this way as an attempt to show pride in the accomplishments of the Greeks, a goal in artwork after the end of the Persian Wars. The original display of this work would have been on the Acropolis during the reign of Pericles, and the sculpture was displayed next to a sculpture of Pericles’ father Xanthippus. While there is no inscription on this sculpture identifying the figure as Anacreon, Pausanias, a Greek traveler and geographer, noted that this was a sculpture of Anacreon in his writings when he saw it on the Acropolis originally. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. <div class="latest_citation_text hang mla7"> <div class="latest_citation_text hang mla7">"Anacreon. Copenhagen, New Carlsberg Glyptotek (Ny Carlsberg Glyptotek)." History of Ancient Rome. N.p., n.d. Web. 04 Mar. 2017.</div> Breckenridge, James D. "The Portrait in Greek Art." Likeness; a Conceptual History of Ancient Portraiture. Evanston: Northwestern UP, 1968. 90-93. Print.</div> <div> </div> Pollitt, J.J. "Chapter 3: Personality and Psychology in Portraiture." Art in the Hellenistic Age. Cambridge: Cambridge UPress, 2009. 60. Google Books. Web. 4 Mar. 2017. Contributor An entity responsible for making contributions to the resource Megan May http://classicalchopped.artinterp.org/omeka/files/original/632d51edce818ba36593a82a017e49cb.jpg 661f01f54400305938317b433470b435 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 Anavysos Kouros Date A point or period of time associated with an event in the lifecycle of the resource ca. 530 BCE, the Archaic Period Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Parian Marble, paint Format The file format, physical medium, or dimensions of the resource 1.94 m tall Source A related resource from which the described resource is derived Greece, Attica, the cemetery of Anavysos Rights Holder A person or organization owning or managing rights over the resource. National Archaeological Museum, Athens, Greece References A related resource that is referenced, cited, or otherwise pointed to by the described resource. the "Ancient-Greece.org" website: http://ancient-greece.org/images/art/kouros/pages/07kroisos_jpg.htm the "Khan Academy" website: https://www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/daedalic-archaic/v/anavysos-kouros Philadelpheus, Alex. "The Anavysos Kouros." The Annual of the British School at Athens, vol. 36, 1935, pp. 1-4, www.jstor.org/stable/30096873. Accessed 4 Mar. 2017. Contributor An entity responsible for making contributions to the resource Nora Cheung Description An account of the resource Description: The Anavysos Kouros is a male nude, human-figure that stands at 1.94 meters (6’4) from head to toe, not including the base. Its height is also roughly seven and a half times the height of the head. The kouros is solid, and standing erect, and has the youthful, perfect figure of an athlete. His long hair is uniformly braided and cascades down his back to his shoulder blades, and is tucked behind his ears. There is evidence of red paint on his hair braids, also on his public hair and eyes. A thin strip of fabric holds back symmetrical swirl-shaped curls that frame his forehead. His brow ridge is sharply defined, and his almond-shaped eyes slightly bulge out of the sockets. The figure has high, prominent cheekbones that rest just below the eyes lateral to the nose. His mouth is small, it is only slightly longer than the width of his nose, and is curled into a soft smile. This smile pulls his cheeks back and creates a facial crease on the sides of his lips. His neck is thick, and extends past the width of his head. His shoulders and chest are broad. His pectoral muscles are lightly defined, along with his abdominal muscles, which are faintly carved into the marble. His waist is small, but his hips and buttocks are rounder and more pronounced. His thick thighs touch each other, and his calves are extremely pronounced. They are almost the same width of his thighs. He is striding forward, with his left foot leading. The kouros’ hands are clenched and rested at his sides, without touching his thighs. There are supports that connect his hands to his thighs, most likely to support the weight of the marble so the arms do not break off. The figure is reddish-tinted, showing evidence of paint. Significance: The Anavysos Kouros is one of many kouroi created during the Archaic period in ancient Greece. These figures were depicted as strong male nudes, and used as grave markers, offerings, and occasionally portrayed as the god Apollo. The figure shows the classic “Archaic smile”, a characteristic of kouroi created during this time period. The reason for this is unknown, whether it is because the carving technology did not allow for refined facial expressions, or a stylistic choice. This piece was separated from its base, which was found in a different location. It is generally agreed upon by art historians that the base belongs to this kouros, which served as funerary marker set up by an aristocratic family for their son who had fallen in battle. The inscription reads; “Stay and mourn of the monument of dead Kroisos, who raging Ares slew as he fount in the front ranks.” While this references and honors a specific person, Kroisos, that is not to say that this figure depicted is an image of this deceased soldier. This perfect, youthful, male nude is not necessarily a “portrait” in the true sense of the word. There is evidence of some individualization in the depicted youth, for example, there are traces of red paint on his braids and pubic hair. But the face and body is a more typical presentation of the male nude. This kouros also shows an evolution in the knowledge of the anatomy and physiognomy of the human figure. Compared to the New York Kouros with its rigid lines and humanoid features, the Anavysos Kouros has softer, more rounded features and more realistic muscle depictions. There is also more movement in this picture, the figure is moving forward and the corresponding muscles flex and relax, showing a more naturalistic depiction of human movement. http://classicalchopped.artinterp.org/omeka/files/original/78893541f6a8c3e364d5911e4f5e3118.jpg f3b7731de94521927a9b8da9c62392f8 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 Pericles Date A point or period of time associated with an event in the lifecycle of the resource Early Trajanic, 2nd Century AD; copy of a Classical work, ca. 440-430 BC Creator An entity primarily responsible for making the resource Unknown (Ancient Roman Sculptor after Greek Original; associated with Kresilas, possible original artist) Medium The material or physical carrier of the resource. Marble (Roman copy of Greek Bronze) Format The file format, physical medium, or dimensions of the resource 58.42 cm Source A related resource from which the described resource is derived Villa of Cassius at Tivoli, Italy 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. "Bust of Pericles." The British Museum, www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=461658&partId=1. Cook, Edward Tyas, compiler. A Popular Handbook to the Greek and Roman Antiquities in the British Museum. London, Macmillan, 1903. 190-191. Print. Eaton, Daniel Cady. Hand-Book of Greek and Roman Sculpture. 2nd, rev. ed., Boston, James R. Osgood, 1884. 89. Print. Furtwängler, Adolf, and Heinrich Ludwig Urlichs. Greek and Roman Sculpture. Translated by Horace Taylor, New York, E.P. Dutton, 1914. 208-210. Print. "Herm-bust of Menander." Museum of Fine Arts Boston, www.mfa.org/collections/object/herm-bust-of-menander-151124. Lewis, David Malcolm. "Pericles, Athenian Statesman." Encyclopedia Britannica, 9 Aug. 1999, www.britannica.com/biography/Pericles-Athenian-statesman. Contributor An entity responsible for making contributions to the resource Mallory Haselberger Description An account of the resource Description: The Roman marble portrait bust, “Bust of Pericles,” depicts the upper chest, neck, and head of a male figure. The figure’s head is slightly tilted to the left, suggesting that the original Greek bronze portrait, the basis for the copy, depicted the full-length of the body in contrapposto posture. Scholars have also proposed that the inclination of the head can be attributed to a personal trait of the figure observed by the original artist. The figure is portrayed without any defect in his facial features, instead shown as an idealized man in the prime of his youth, a common depiction in Classical period portraits of the great men of the polis. The face is represented by the artist as masklike and impassive—lacking any portrayal of human emotion. The expressionless face aligns with the concept of sophrosyne in the Classical period, emphasizing the importance of self-control and composure. The eyes are slightly hooded and stare into the distance with a vacant gaze. The lips are full and slightly parted as though the figure is at the moment before speech. The smooth and unflawed skin of the figure is skillfully sculpted in marble by the unknown Roman copyist. On the crown of his head, the figure wears a Corinthian helmet, a popular style of the Archaic and early Classical periods. He has finely rendered curly hair that fans around the edge of the helmet, and a neatly trimmed beard that frames the elongated face. According to scholars, the nose and parts of the helmet were added in the late-19th or early-20th century after suffering damage. The figure’s name, “ПΕΡΙΚΛHΣ,” is inscribed on the front of the bust in Greek characters from the Late Hellenistic period. Significance: Pericles was an Athenian general and statesman active in the late 5th century, valued for his contributions in strategical military pursuits, oratorical skill, and most importantly, his growth of the Athenian Empire. During his lifetime, Pericles hoped to secure Athens’ cultural importance in Greece, notably beginning the reconstruction of the Acropolis after its destruction by the Persians in 480 BC. The Roman copy of the “Bust of Pericles” in the British Museum is one of many excavated at the turn of the 18th century, with three other extant copies housed in the Vatican Museum, the Museo Barracco, and the Berlin Antikensammlung. The placement of the various Roman marble copies is unknown, but the Bust of Pericles would have originally been part of a herm as evidenced by the rectangular spans of the chest and shoulders. Similarly, rectangular "slots" created in the sides of the remaining bust would have held wooden inserts for the hanging of garlands, a feature found in other herms of similar construction. The original Greek bronze portrait with which the copies are based is believed to have been installed on the Acropolis around the period of Pericles’ death in 429 BC. Scholars have suggested that because of his favored view by the Athenians in 439 BC, the time of one of his most successful military campaigns, the dedication from the polis for the bronze portrait would have likely been made for the public Acropolis sanctuary of Athena Polias. Despite his civic successes during the 5th Century, only one defect is described of Pericles by the ancient author Plutarch: his unusually long skull. In the “Bust of Pericles,” and all other representations of Pericles in portraiture, the artist conceals the disproportion of the skull with a Corinthian helmet placed on the crown of the head. Scholars have also suggested that the helmet stands as a symbol for his position as an Athenian general, though Pericles is known more for his actions as a strategist and civilian rather than as a successful military warrior. The idealized representation of Pericles in the Roman copy portrait bust exemplifies his successes for the Athenian people. From the Corinthian helmet on his head suggesting political triumph, to the idealized facial representation of the man who served the polis, the “Bust of Pericles” conveys the importance of celebrating and heroizing the men of action in Greek culture during the Classical period. http://classicalchopped.artinterp.org/omeka/files/original/07da37edd5250c93a1ad29277de78966.jpg 3e95661858ddebf02c3a8d0452400c0d 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 Themistokles Date A point or period of time associated with an event in the lifecycle of the resource Roman Period, ca. 2nd century A.D.; copy of Early Classical work, ca. 475-450 B.C. Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Marble (Roman copy of Greek bronze) Format The file format, physical medium, or dimensions of the resource bust: 50 cm tall ; head: 26 cm tall Source A related resource from which the described resource is derived Found in Ostia, in the House of Themistokles, near the Theater in 1939 Rights Holder A person or organization owning or managing rights over the resource. Ostia Museum, Rome, Italy References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Breckenridge, James D. "The Fifth Century: The Hero." Likeness: A Conceptual History of Ancient Portraiture. Evanston: Northwestern U, 1968. 89-90. Print. Hanson, Victor Davis. "Holy Salamis (September 480 B.C.)." The Savior Generals: How Five Great Commanders Saved Wars That Were Lost - From Ancient Greece to Iraq. 1st ed. N.p.: Bloomsbury, 2013. 34. Print. Phang, Sara E., Douglas Kelly, and Peter Londey. "Themistocles (ca. 528-460)." Conflict in Ancient Greece and Rome. The Definitive Political, Social, and Military Encyclopedia. 3 Vols. Santa Barbara: ABC-CLIO, 2017. 546-47. Print. <a href="http://www.perseus.tufts.edu/hopper/artifact?name=Ostia+Themistokles&object=Sculpture" target="_blank">http://www.perseus.tufts.edu/hopper/artifact?name=Ostia+Themistokles&object=Sculpture</a> <a href="http://www.ostia-antica.org/vmuseum/marble_2.htm" target="_blank">http://www.ostia-antica.org/vmuseum/marble_2.htm</a> <a href="https://www.beazley.ox.ac.uk/sculpture/styles/portraiture.htm" target="_blank">https://www.beazley.ox.ac.uk/sculpture/styles/portraiture.htm</a> <a href="http://www.stoa.org/projects/demos/article_portraits?page=all" target="_blank">http://www.stoa.org/projects/demos/article_portraits?page=all</a> Contributor An entity responsible for making contributions to the resource Charlotte Mann Description An account of the resource Description: The ‘Bust of Themistokles’ depicts the head of a man and part of his upper chest, which is more specifically known as a herm, on the bottom of which rests a small Greek inscription of his name, ‘Themistokles’. In terms of facial features, the marble head consists of smooth, slightly rounded cheekbones, arched, well-defined eye-sockets, with eyelids and brow visible, and a deteriorated nose that shows signs of damage. The downward curve of his mouth forms a slightly protruding upper lip veiled by a thinly haired mustache, while the lower lip forms a strong horizontal line below. Combined with a square jaw that projects subtly forward and the creased brow and forehead, these elements convey what might be considered a stern expression, although the eyes look relatively blank, looking nowhere in particular. Below the head, a V-shape denotes the chest cavity under the thick neck, accentuating the overall naturalism. However, the hair, which stretches almost straight across the mid-forehead, curves diagonally at the sides of the head, extending to the chin and forming a beard filled with patterns of incised curls. The abrupt linear break of the hair at the forehead gives the appearance of a wig, with the repeated curved lines adding to this sense of stylization. This fusion of the natural and simplified implies idealization, although the features may be somewhat individualized. Significance: A Roman marble copy of a bronze Greek original, this bust, as confirmed by its inscription, portrays the Athenian politician and general, Themistokles, who lived from 528-460 B.C. Having come from a less aristocratic family than previous leaders, Themistokles purportedly rose to prominence on account of his strong will, through which he commanded the Athenian fleet and promoted Athens as a naval power prior to and during the Second-Persian War, in which he led Athens to victory at Salamis. In one sense, the sternness of the features, including the furrowed brow and solid jawline, suggests that the portrait could reflect his personality, described by the ancients Plutarch and Thucydides as “enterprising”, “brilliant”, and “shrewd”. This is the view of some scholars who believe that this particular bust is an anomaly in Early Classical portraiture, as it expresses a strong sense of individual character for the time, and may depart from the generic Greek types, such as the heroic, idealized figure. While the “true portrait” was supposedly not realized until later, this example from the Early Classical Period, marked by the distinct thrust of the head, thick neck and slightly forceful expression, may offer insights into the development of individualization in Greek portraiture. This considered, it does fall into the tradition of portraits of Greek military leaders produced during the time of the Persian Wars, meaning the level of individuation is debatable. Other contemporaneous sculptures such as the head of Philip of Macedon in Copenhagen, which bears a similar hairstyle and expression, may hint at shared attributes used by sculptors and slightly modified for individual traits. While the original full-figure bronze statue may have been displayed in Themistokles’ Temple of Artemis Aristoboule or his monument at Magnesia, as described by the ancients, this copy would have served the intellectual purposes of Roman clients, such as those in the House of Themistokles, the guild house which was named after this portrait when it was discovered in 1939. Aptly, in the view of one scholar, the sculpture’s bearing, with its coarse beard and cropped hair, is more akin to a Roman military emperor than a typical Greek commander, which may explain why some scholars view this piece as unique among Early-Classical sculpture. http://classicalchopped.artinterp.org/omeka/files/original/6a6aa0bd75d7130e32c3436911228d1b.jpg af8f1d3d4502ce5db7047b81ac071d5c 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 Tetradrachm of Ptolemy I Date A point or period of time associated with an event in the lifecycle of the resource 310-305 BC Creator An entity primarily responsible for making the resource From the mint of Alexandria Medium The material or physical carrier of the resource. Silver Source A related resource from which the described resource is derived N/A Format The file format, physical medium, or dimensions of the resource 15.69 grams, roughly 2.6 cm in diameter Rights Holder A person or organization owning or managing rights over the resource. The Harvard Art Museum in Cambridge, Massachusetts References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Arnold-Biucchi, Carmen . Alexander's Coins and Alexander's Image. N.p.: n.p., 2007. Print. http://snible.org/coins/hn/egypt.html http://www.harvardartmuseums.org/art/191212 http://www.wildwinds.com/coins/greece/egypt/ptolemy_I/Svoronos_020.txt 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 Ptolemy I Date A point or period of time associated with an event in the lifecycle of the resource 310-305 BC Creator An entity primarily responsible for making the resource Mint of Alexandria Medium The material or physical carrier of the resource. Silver Format The file format, physical medium, or dimensions of the resource Roughly 2.6cm in diameter Source A related resource from which the described resource is derived N/A Rights Holder A person or organization owning or managing rights over the resource. The Harvard Museum in Cambridge, Massachusetts References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Arnold-Biucchi, Carmen. Alexander's Coins and Alexander's Image. N.p.: n.p., 2007. Print. Pages 59-61 http://www.harvardartmuseums.org/art/191212 http://snible.org/coins/hn/egypt.html http://www.wildwinds.com/coins/greece/egypt/ptolemy_I/i.html https://warisboring.com/battle-of-the-dumbos-elephant-warfare-from-ancient-greece-to-the-vietnam-war-ca62af225917#.7uhs73yoa <a href="http://www.livius.org/sources/content/arrian/anabasis/alexander-visits-siwah/" target="_blank">http://www.livius.org/sources/content/arrian/anabasis/alexander-visits-siwah/</a> Contributor An entity responsible for making contributions to the resource Soe Naing Description An account of the resource Description: The Tetradrachm of Ptolemy I Soter, like all coins, has two sides, the obverse and reverse. The obverse depicts the portrait of Alexander the Great. He is shown wearing an elephant headdress, the mitra of Dionysus, the ram’s horn, and an aegis around his neck. The elephant headdress is lifelike; it is shown with wrinkles in its skin. The trunk of the elephant also seems to be drawn using the same pattern as the outline of the coin, almost as if the two are connected. The ear of the elephant also seems to be disconnected from the rest of the head, as if it was pinned on. The ram’s horn also peaks out from underneath the headdress (protruding from the top of Alexander’s head in a slanted direction towards the right). It is also worth mentioning that the aegis around Alexander’s neck is very detailed; it is shown with a scale like design. Furthermore, we can still see Alexander’s long hair spill out, despite the headdress. Lastly, the features of Alexander’s face are extremely detailed. You can especially see this with his eye. Not only are his eye lids depicted, you can even see that the artist included Alexander's iris in the obverse die that was used to strike this portrait image. Lastly, the open lips and luxurious hair show that the portrait of Alexander is in “Lysippan style.” _________________________________________ There are a lot of noticeable features about the reverse side of the coin as well. First, we see the emphasis of this side, the striding Athena. Athena is depicted here, with a spear in her right hand and a shield in the left. The detail in the picture of Athena is meticulous. You can see the design in her dress, the folds in her cloths, and the pieces of her armor. I would even go as far as saying that the bottom of her clothes seem almost transparent, since you can see the outline of her leg, even through the clothes. Along with Athena, this side of the coin also has an eagle on top of a lightning bolt, to the right of Athena. There are also a number of inscriptions on this side of the coin, AΛEΞANΔPOY (to the left of Athena), and a couple of arrow like characters (to the right of Athena). It should also be noted, that this side of the coin has the same outline as the obverse side. Significance: The obverse side of the coin is full of significance. The depiction of Alexander the great is filled with metaphor and connections to other aspects of his life. To start, we have his face. The face shown on the coin is clean, shaven, and young. This shows the idea of the coin was to cement Alexander forever in time, as the youthful leader that he was. The aegis around Alexander’s neck also gives the same idea; it represents agelessness and immortality. The aegis also belonged to Zeus, connecting Alexander to divinity and, what was believed to be, his bloodline. Next we have the elephant headdress; this is to reference his conquest in the east and his victory against an army of elephants. Not only is Alexander wearing an animal, his hair can be seen as reference to the mane of a lion. This connects Alexander to the fierceness and regality of the lion. The ram’s horn, poking out from underneath the headdress, is also significant because it is a reference to Zeus Ammon. The reason Alexander is connected to Zeus Ammon is because a prophet, from the oasis Siwah in the Libyan desert, claims he is his son. Along with being Zeus Ammon’s son, Alexander is shown wearing a mitra of Dionysus, to further relate him to the gods. Other instances where Alexander is being connected to Zeus are the eagle and lightning bolt on the reverse side, both are symbolic of Zeus. The reasons behind the making of the coin are also very important. First, the portrait being on a coin means the images on the coin are meant to be seen by the populace. This was Ptolemy’s way of showing the majority of his connection to Alexander. It was a way for him to proclaim his right to be Alexander’ successor. It was also a way to show his respect to his predecessor. http://classicalchopped.artinterp.org/omeka/files/original/e414ae9c1edeb8ec0395853794f567a9.jpg ceb81b9a473fd99c8beea484dd5ab0c0 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 Socrates Creator An entity primarily responsible for making the resource Roman copy of Greek original, by Lysippos Medium The material or physical carrier of the resource. Marble Format The file format, physical medium, or dimensions of the resource 33.5 cm Rights Holder A person or organization owning or managing rights over the resource. Louvre Museum Date A point or period of time associated with an event in the lifecycle of the resource 1st Century BC 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 Socrates Source A related resource from which the described resource is derived Roman Copy: Unknown Bronze Original: Pompeion in Athens Creator An entity primarily responsible for making the resource Unknown, Bronze original by Lysippos Medium The material or physical carrier of the resource. Marble Format The file format, physical medium, or dimensions of the resource 33.5 cm tall Rights Holder A person or organization owning or managing rights over the resource. Louvre Museum, Paris Contributor An entity responsible for making contributions to the resource Gentry Pack Date A point or period of time associated with an event in the lifecycle of the resource Roman Copy: Unknown, Bronze Original: mid-4th century BC, Greek Classical Period Description An account of the resource Description: The Head of Socrates depicts a face of the great philosopher. It includes the full head and continues down to stop at the neck. The portrait depicts an older man with a receding hairline, curly hair renderings along the sides and back of the head as well as a long pointed beard. The rendering of the hair is very detailed, showing naturalistic patterns and directions of hair flow. The amount of wrinkles on the forehead and cheeks show realistic signs of age, and helps create a very serious and wise undertone for the sculpture. The tip of the nose seems to have been scraped or damaged from either excavation or transportation of the artifact. The almond-shaped eyes are slightly exaggerated. The portrait includes Socrates' distinct receding hairline, silenos-like beard, and slightly open mouth. This portrait of the head was originally meant to be inserted into a larger body, which is now missing. It seems evident that the intent of this piece was to highlight Socrates’ physical display of age and focus as philosopher. Significance: The style and appearance of this posthumous portrait stem from the new trend in portraiture following the defeat of the Greeks by the Macedonians at the Battle of Chaeronea in 338 BC. This time period is when sculptors, especially Lysippos, started to really incorporate their model’s personal character, realism, and emotion in to the face of the piece. The eyes create a very starry gaze for the portrait as if it were depicting Socrates in deep thought, or in preparation to make an intellectual statement. It seems evident that the intent of this piece was to highlight Socrates’ physical age and focus as philosopher. The amount of detail that was put into this piece in order to emphasize Socrates’ wrinkled skin, long beard, and focused expression was clearly a structured depiction of his knowledge and wisdom. Having such a visible receding hair line and a long pointed beard were not qualities of the portraits of the young and physically powerful models, such as the Statue of Meleager. The artist of this piece was much more interested in encapsulating Socrates' identity as a scholar. By choosing to emphasize features such as wrinkles and folds that represent having a long life, rather than idealizing the face, it displays that Socrates has probably learned a lot of lessons over the years and was a true man of experience and philosophy. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. The Stoa Consortium http://www.stoa.org/projects/demos/article_portraits?page=12 Cosmo Learning https://cosmolearning.org/images/socrates-louvre-museum-paris/ http://classicalchopped.artinterp.org/omeka/files/original/8a8b564a38b436e7da053548dc387962.jpg 55b9d1890c7fd148483dc0f7e7f7b3a6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Mask of Agamemnon Date A point or period of time associated with an event in the lifecycle of the resource ca. 1550-1500 BC, late Bronze Age Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Gold Format The file format, physical medium, or dimensions of the resource 35 cm tall Source A related resource from which the described resource is derived Greece, Mycenae, Grave V, Grave Circle A Rights Holder A person or organization owning or managing rights over the resource. National Archaeological Museum of Athens, Greece References A related resource that is referenced, cited, or otherwise pointed to by the described resource. <a title="The Australian Museum" href="https://australianmuseum.net.au/image/mask-of-agamemnon%20">Australian Museum </a> <a href="http://www.metmuseum.org/blogs/now-at-the-met/features/2011/mask-of-agamemnon%20">The Metropolitan </a> <a href="https://www.khanacademy.org/humanities/ancient-art-civilizations/aegean-art1/mycenaean/v/agamemnon-mask">The Khan Academy</a> BBC Worldwide Ltd, Films for the Humanities & Sciences (Firm), and Films Media Group. Inside the National Archeological Museum of Athens. New York, N.Y.: Films Media Group, 2012. Web. Museum Secrets (Specials); Museum secrets, Specials. Blegen, Carl W. "Early Greek Portraits." American Journal of Archaeology 66.3 (1962). pp. 245-249. Breckenridge, James Douglas. Likeness; a Conceptual History of Ancient Portraiture. Northwestern University Press, 1968. pp. 87-130. Harrington, Spencer P.M., et al. “Behind the Mask of Agamemnon.” Archaeology, vol. 52, no. 4, 1999, pp. 51–59., www.jstor.org/stable/41779424. Contributor An entity responsible for making contributions to the resource Charlotte Myers Description An account of the resource Description: The Mask of Agamemnon depicts the face of a male figure produced in hammered sheet gold. It is highly lustrous and appears to be thin and fragile as aluminum foil. The frontal face has distinctly male features including a full beard with a small triangular tuft of hair below the lip. Comb-like patterns occur on the eyebrows and mustache, creating a more naturalistic representation of hair on the mask. His lips are tightly sealed, possibly creating a sense of impatience in demeanor. Though the figure clearly represents a male face, there are features that are not naturalistic. For instance, the eyes on the mask appear as if the man’s eyelids were highly swollen and closed tightly. However, some scholars argue that his eyes appear both closed and open simultaneously. His eyebrows do not indicate any sense of tension, though. His ears also lack naturalism as they are rounded and decorative; they are also detached from the main part of the head. Significance: The Mask of Agamemnon was created in the beginning of the final phase of the Bronze Age in ancient Greece and found in 1876 by Heinrich Schliemann. Schliemann named the work "The Mask of Agamemnon" in order to link it to the Trojan War, although this mask did not actually belong to Agamemnon himself. The gold mask, from the Fifth Shaft Grave in Grave Circle A, was made through the process of hammering gold against a mold (likely wooden) until it became as thin and flat as possible while still embodying the characteristics of the mold. Other masks like it were found in the surrounding graves found by Heinrich Schliemann; the masks were a localized phenomenon and the style of representation differed greatly from the classic Mycenaean standard. The specificicity in which the hair is displayed may also indicate an emphasis on physical appearance and the importance of neatness in this society. Agamemnon serves in Greek mythology as the king of Mycenae, son of King Atreus and Queen Aerope. This mask was highly significant because it displayed the notion of likeness between Agamemnon and the man who wore the mask in death. The mask seems to have been placed over the face of a warrior from a very important family, though identity of that warrior is unknown. Aside from the mask, the grave goods in Grave Shaft V indicate that this man was, in fact, a warrior. Through depicting the characteristics of a king from mythology and placing it on the face of a warrior, the qualities of Agamemnon are comparable and transferable to the corpse on which it remains. The mask is quite different compared to other burial masks in this society because it does not fit the face of the man on which it was placed, making it a unique tribute to Agamemnon himself. Additionally, the mask represents great innovation. The Mycenaean Greeks were known for becoming one of the first civilized Greek societies; through developing their own writing system and palatial states, it is evident that they strived for greatness. The mask is no less innovative, both physically and symbolically. It was also found amongst many other gold grave goods, indicating a high production rate of gold products such as this one. It should be noted that some historians and scholars believe the mask is actually a forgery. William Calder III published the scholarly article, “Is the Mask a Hoax?,” in which he outlined the nine reasons to maintain skepticism regarding the mask’s authenticity. One big argument supporting this claim is that Schliemann himself was not an archaeologist by trade, but a businessman. As an amateur in the field of archaeology, his findings seemed too good to be true. Therefore, some believe that he may have altered or modified the mask to meet the aesthetic preferences of the 19th Century. One identifiable example to further this argument is style of the beard and mustache of the figure in the mask; it is thought that Schliemann produced this based on the popularity of beards and mustaches during the 1800s. http://classicalchopped.artinterp.org/omeka/files/original/0762e7fe4a9b3281199d258270f4a584.jpg e260d8c223a1a3fe69dfbc6ff9190aaa Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Peplos Kore Date A point or period of time associated with an event in the lifecycle of the resource Archaic Period, ca. 530 B.C.E Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Parian marble Format The file format, physical medium, or dimensions of the resource 118 cm tall Source A related resource from which the described resource is derived The Acropolis (Athens, Greece) Rights Holder A person or organization owning or managing rights over the resource. The Acropolis Museum, Athens Description An account of the resource Description: The Peplos Kore is roughly four feet tall and represents a standing female figure in antiquity. She gets her name from the peplos she is wearing and Kore, which simply means “young woman” in Greek. A Kore is a type of clothed female figure often used as a grave marker or votive offering in ancient Greece. She is the counterpart to the male Kouros, who is depicted nude. Moreover, she has long, stylized curls stemming from her scalp that create a rippling pattern on her chest and head. Her face would have been more complexly painted, but only the red hues in her eyes have survived the test of time; however, the red in her irises should not be regarded as intentional since red was often the remains of a mixture of hues in antiquity. In this instance, red could have been originally combined to make many shades of other colors (like brown, for example). There also appears to be holes in the lobes of her ears, suggesting that she was once decorated with bronze earrings. Her mouth, in what is known as the “archaic smile,” does not necessarily portray happiness, but rather a sense of well-being. In addition to her facial expression, the sculptor has also indicated not only her breasts and waist, but also a subtle sense of her legs underneath her peplos. Her breasts are slightly accentuated, conveying emerging sexuality. Her right hand appears to have a hole drilled in a manner that would allow something to fit in it. Significance: As formerly stated, Kore statues were generally believed to be offerings given to the gods. Since what she is wearing is so unusual and similar to a goddess’s attire, it has opened up recent conjectures that believe she may not be a depiction of a young woman at all, but rather a representation of a goddess. Since she was found on the Acropolis, some art historians trust that she was the goddess Athena, but other analyses lean towards the notion that she was once Artemis, goddess of the hunt. This is frustrating since scholars do not have the left arm to conclude what the statue was once carrying, but the hole drilled in the right hand could easily have held an arrow. Recreations of the statue have been done in multiple different fashions, some depicting the statue as Artemis with bow and arrow in hand and others as the goddess Athena. Additionally, the smile on the statue gives the figure a sense of being transcendent, an emotion that does not correlate with a recognizable human experience and evokes a sense of not engaging in the world of emotion and difficulty, but somehow rising above it. Most historians will not argue that she is significant because she has survived for all these years; however, the Peplos Kore’s significance extends far deeper than it just being one of the few surviving statues of the Archaic Period. The mystery surrounding a scholar’s inability to determine the statue’s identity is what truly makes it a significant part of Ancient Greek history. These historians often revel in the most trivial revelations regarding the smallest truths deduced from the artifacts they study. This signals a victory of order over uncertainty for the modern scholar, but often times the impulse to ascertain mastery over our world becomes impossible when pieces of the statue (or history) are missing. The ability to embrace the full mystery of the Peplos Kore’s original function is what makes it so alluring to scholars, and that is particularly why it is still significant to this day. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Khan Academy website: https://www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/daedalic-archaic/v/peplos-kore Stieber, Mary. “Chapter 2.” Poetics of Appearance in the Attic Korai. Austin: University of Texas, 2004. 42-82. Print. University of Cambridge website: http://www.classics.cam.ac.uk/museum/collections/peplos-kore Contributor An entity responsible for making contributions to the resource Ryan Tetter Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Peplos Kore Date A point or period of time associated with an event in the lifecycle of the resource Archaic Period, ca. 530 B.C.E Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Parian marble, paint Format The file format, physical medium, or dimensions of the resource 118 cm tall Source A related resource from which the described resource is derived The Acropolis (Athens, Greece) Rights Holder A person or organization owning or managing rights over the resource. The Acropolis Museum, Athens Description An account of the resource Description: The Peplos Kore is roughly four feet tall and represents a standing female figure in antiquity. She is wearing a peplos in addition to sporting a chiton underneath. Her peplos depicts traces of geometric decorations starting from her waist and trailing down towards her ankles. She has long, stylized curls stemming from her scalp that create a rippling pattern along her chest and head; these curls are strewn to the sides of her breasts, just below the shoulders. Her face would have been more complexly painted, but only the red hues of her hair and eyes have survived the test of time. There are also holes in the lobes of her ears, suggesting that she was once decorated with bronze earrings. She also wears an archaic smile upon her face. In addition to her facial expression, the sculptor has indicated not only her breasts and waist, but also a subtle sense of her legs underneath her peplos. Her breasts are slightly accentuated, conveying emerging sexuality. Her right hand appears to have a hole drilled in a manner that would allow something to fit through it. Finally, the statue has no feet and is connected to a flat, marble base. Significance: Kore statues were generally believed to serve as grave markers for the recently deceased or votive offerings for the gods. She is the counterpart to the male kouros, who is always depicted nude. Moreover, the Peplos Kore exhibits a wealth of individualizing features that help identify her as a portrait. One of these features is exemplified with her eyes, which appear red; however, the red in her irises should not be regarded as intentional, since red was often the remains of a mixture of hues in antiquity. In this instance, red could have been originally combined to make many other colors (such as brown). More often than not, statues that were represented with red eyes were usually paired with red hair, as seen with the Peplos Kore. Unlike the eyes, some of the color representations of the hair in korai may have been true indications of the color and style worn by women in antiquity. Additionally, the texture, density, and lack of a tangible hairline suggest that women may have worn wigs to show off particular curls, crimps, colors, and braids. The Peplos Kore also wears an archaic smile, a feature prevalent throughout Ancient Greek portraiture that bestows a combination of happiness, vigor, and seductiveness on the statue. This individualizing feature of seductiveness is further explored in the statue’s peplos, which conforms to her body and highlights her breasts and slim physique. This could be a sign of emerging sexuality or ideal feminine qualities that viewers may have admired women for in Ancient Greece. Her drapery also shows signs of once being decorated with intricate, polychrome patterns, which may showcase the aesthetics that the Greeks valued in female portraiture. Art historians at Cambridge University have even reconstructed the Peplos Kore in such a way to further highlight these colorful and decorated patterns, showcasing how she may have been viewed in antiquity rather than depicting her as a “pure white” statue. Furthermore, since the Peplos Kore is wearing such an unusual garment that is similar to a goddess’s attire, it has opened up recent conjectures that believe she may not be a depiction of a young woman at all, but rather a representation of a goddess. Since she was found on the Acropolis, some art historians think that she was originally portrayed as the goddess Athena, but other analyses lean towards the notion that she was once Artemis, goddess of the hunt. This is frustrating for scholars since they do not have the left arm to conclude what the statue was once carrying, but the hole drilled in the right hand could easily have held an arrow. Recreations of the statue have been done in multiple different fashions, some depicting the statue as Artemis with bow and arrow in hand and others as the goddess Athena. Additionally, the smile on the statue does not necessarily portray happiness, but rather a sense of transcendence; this is an emotion that does not correlate with any recognizable human experience and evokes a sense of not engaging in the world of difficulty, but somehow rising above it. Most historians will not argue that she is significant because she has survived for all these years; however, the Peplos Kore’s significance extends far deeper than it just being one of the few surviving statues of the Archaic Period. The mystery surrounding a scholar’s inability to determine the statue’s identity is what truly makes it a significant part of ancient Greek history. These historians often revel in the most trivial revelations regarding the smallest truths deduced from the artifacts they study. This signals a victory of order over uncertainty for the modern scholar, but often times the impulse to ascertain mastery over our world becomes impossible when pieces of the statue (or history) are missing. The ability to embrace the full mystery of the Peplos Kore’s original purpose is what makes it so alluring to scholars, and that is particularly why it is so important to this day. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Khan Academy website: https://www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/daedalic-archaic/v/peplos-kore Stieber, Mary. “Chapter 2.” Poetics of Appearance in the Attic Korai. Austin: University of Texas, 2004. 42-82. Print. University of Cambridge website: http://www.classics.cam.ac.uk/museum/collections/peplos-kore Contributor An entity responsible for making contributions to the resource Ryan Tetter http://classicalchopped.artinterp.org/omeka/files/original/298f73e5cb9bddc3b58ffd0fd67b51e4.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 Roman copy, unknown date; Hellenistic original, ca. 280 BC Creator An entity primarily responsible for making the resource Polyeuktos, original artist Medium The material or physical carrier of the resource. Marble copy of bronze original Format The file format, physical medium, or dimensions of the resource 202 cm tall Source A related resource from which the described resource is derived Copy said to be from Campania, Italy Original: Athenian Agora Rights Holder A person or organization owning or managing rights over the resource. Ny Carlsberg Glyptothek of Copenhagen, Denmark Contributor An entity responsible for making contributions to the resource Becca Peters Description An account of the resource Description: The portrait “Standing Demosthenes” shows a standing man and is just over life-size. He looks to be around fifty or sixty, with clear wrinkles, predominantly on his face. His cheeks are hollow, and his brow is furrowed. His lips are closed tightly and his jaw is clenched. He is looking downward, as though he is just looked away from the viewer. His beard is closely cropped, and his hairline is slightly receding. He is very thin with his bones creating most of his body’s definition rather than muscle. His chest is sunken and his hunched shoulders are quite bony. In his hands, there is a partially unrolled scroll. He is standing in contrapposto, a typical stance for the early Hellenistic period. From the perspective of the viewer, his right foot is pointed forward, while his left foot is turned outward. There is a round container of scrolls placed behind his right foot. He is wearing a himation, which is wrapped around his body. It is rolled underneath his chest and draped over his right shoulder. It falls around his ankles, exposing his sandaled feet. He is standing on a small, round platform. Significance: This sculpture of Demosthenes is an exemplary piece of Hellenistic portraiture. It is individualized and realistic, appealing to the audience’s emotions. His identity is known from both ancient texts and an inscription that appears on one of the several Roman replicas. The original Greek version would have been made of bronze, not marble. The container of scrolls behind his right foot would not have been present on the original and is acting as a support for the heavier marble. Even though it is not an exact physical representation, as Demosthenes died 40 years before this was made, it pays great attention to using physical features to portray his inner character. Demosthenes was an orator who spoke out against the Macedonian conquest of Greece. As a result, he was seen as one of Athens’ greatest advocates. This statue was originally on display at the Athenian Agora, possibly as part of a collection of statues of individuals who had defended Athens in the past. However, his attempts to speak out against Macedonia failed and he ultimately committed suicide. His posture and expression reflect the anxiety and stress he felt during his life. He appears uncertain and unconfident, as though he is aware that his efforts have been in vain. This statue’s hands are not original, but have been restored based on ancient texts. However, scholars now think that instead of holding a scroll, his fingers would have been interlaced, adding to his uneasy appearance. Even though his physiognomy may not accurately reflect the real Demosthenes, his inner state is clearly conveyed through this work. Furthermore, it has been suggested by one scholar that his slightly awkward mouth position is a reference to the stutter he had to overcome in his youth. By portraying Demosthenes’ inner struggle, the audience is able to empathize with him. It does not simply portray him as a historical character but encourages the viewer to understand his anxiety. This appeal to emotion and heightened realism makes this a wonderful example of a Hellenistic art. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. "Copenhagen, NCG 436A." Sculpture. N.p., n.d. Web. 03 Mar. 2017. <http://www.perseus.tufts.edu/hopper/artifact?name=Copenhagen%2C%2BNCG%2B436A&object=Sculpture>. Fullerton, Mark D. Greek Art. Cambridge: Cambridge U Press, 2000. 38-39. Print. Havelock, Christine Mitchell. Hellenistic Art. (London): Phaidon, 1971. 77. Print.