4 10 53 http://classicalchopped.artinterp.org/omeka/files/original/ad19d968ae2b596bbcc15a8995aeae9e.jpg 5d307785f05e1b33e75a61c90d31ec06 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Head of Lysimache Date A point or period of time associated with an event in the lifecycle of the resource 4th Century BC (date of original), Hellenistic Period Creator An entity primarily responsible for making the resource Unknown (Sometimes accredited to Demetrios of Alopeke) Medium The material or physical carrier of the resource. Marble Format The file format, physical medium, or dimensions of the resource 35.7 cm tall Source A related resource from which the described resource is derived Tarquinia, Viterbo (province), Lazio, Italy Rights Holder A person or organization owning or managing rights over the resource. The British Museum of London, United Kingdom Description An account of the resource Description: The head depicted here is that of a older female. It is approximately two-thirds life size and is supported by a bronze rod. She has heavy bags under her eyes, crows feet, and smile lines; additionally, the skin of her neck sags. The eyes are hooded and the mouth is straight. There is heavy damage to her nose, the left ear, and the mouth and some damage to the chin, the left eye, and the left eyebrow. The lobe of the right ear is pierced; this hole has a somewhat large diameter. The hair is stylized symmetrically and is wavy. It is bunched up at the nape of the neck. A plain headband keeps the elaborate hairstyle in place; this was called a strophion at the time. Significance: This portrait is significant because the original was a representation of the priestess of Athena. As mentioned in the description, wrinkles are quite prominent on this work; verism is used quite liberally by the artist. Wisdom and legacy are rendered through this depiction of age, as well as realism and individualism in depicting the priestess. Scholars indicate that Lysimache was priestess of Athena for sixty-four years; her lifelong service to Athena was something that the artist rendered through this use of verism. It should be noted that some scholars claim that the Greek original was made of bronze instead of marble. It should be noted that Demetrios of Alopeke, the artist sometimes accredited for this work, was working in an anti-classical way; this can be discerned through the lack of idealization in the face. The hole in her ear was likely home to an earring made of precious stone to indicate status through wealth. Furthermore, her headband was similar to the 3rd century marble portrait of the priestess Aristonoë from Rhamnous, indicating style trends in the Hellenistic period. Although many scholars do believe this head to be that of Lysimache, this assumption is not universal or fact; the figure's identity is debated. Whether or not she represents Lysimache has yet to be proven, hence why some scholars remain skeptical. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. <a href="http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=399937&partId=1">The British Museum </a> Breckenridge, James D. Likeness. 1968. Pages 98-101. Dillon, Sheila. The female portrait statue in the Greek world. Cambridge University Press, 2010. Page 14. Hekler, Antal. Greek & Roman Portraits. W. Heinemann, 1912. Page X. Keesling, Catherine M. "SYERIS, DIAKONOS OF THE PRIESTESS LYSIMACHE ON THE ATHENIAN ACROPOLIS (IG II2 3464)." hesperia 81.3 (2012). Page 498. Contributor An entity responsible for making contributions to the resource Charlotte Myers http://classicalchopped.artinterp.org/omeka/files/original/c38082b7db9059b0236f600421979604.jpg 7cfab4c9210660c12ce1f9827b0e43df Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Harmodius and Aristogeiton Date A point or period of time associated with an event in the lifecycle of the resource Roman copy, unknown date; Greek original ca. 477 BC, Classical Creator An entity primarily responsible for making the resource Kritios and Nesiotes, original artists 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 220 cm tall Source A related resource from which the described resource is derived Copy said to be from Tivoli outside Rome Original from the Athenian Agora Rights Holder A person or organization owning or managing rights over the resource. National Archaeological Museum of Naples, Italy Contributor An entity responsible for making contributions to the resource Becca Peters Description An account of the resource Description: The marble statues “Harmodius and Aristogeiton” consist of two standing, nude male figures. From the perspective of the viewer, the man to the right is Harmodius. His hair is quite stylized and made up of rows of snail shell-like curls. His face is serene and mask-like. He has deep-set almond shaped eyes and a slight archaic smile. Unfortunately, his nose has been mostly broken off so that only the nostrils remain. Aristogeiton’s hair, on the other hand, is much smoother and almost helmet-like. He also has a beard which is quite rough and almost crudely carved. His nose is broken off as well, and he shows additional signs of damage all along his cheeks. His eyes, while deep-set, are a bit rounder than Harmodius’. Both Harmodius and Aristogeiton’s postures are dynamic and full of movement. Unlike their stylized heads, their bodies show evidence of contrapposto. Harmodius’ left arm is raised above his head and he is holding what appears to be the end of a sword, with the blade missing. His right arm is stretched slightly behind him and is held in place by a marble support connected to his leg. The muscles in his arms and torso are defined and twist along the line of his body. He appears to be lunging forward, with his left knee slightly bent and his right leg stretched behind him. His left hip is leaning on a small tree trunk placed beside him. His right foot is slightly raised, but the marble from the round base slopes upward to remain connected to his foot. Aristogeiton’s body mirrors his counterpart’s position, with his right arm and leg extending forward. His arm, however, is extended in front of him as opposed to above his head. There is a chlamys draped over his arm and he is holding the handle of a sword. There is a tree trunk placed against his right leg and the fabric. Like Harmodius, his back foot is placed on a slight slope in the base, making it appear as though it is raised. Significance: These sculptures are noteworthy works, as they do not quite fit in either the Archaic Period or the Classical Period. Instead, they include characteristics typical of each of these periods and are emblematic of the transition that occurred at this time. Both Harmodius and Aristogeiton’s heads are archaic in style, though Harmodius’ more so than Aristogeiton’s. Harmodius features the trademark almond shaped eyes, snail shell curls, and archaic smile. Harmodius’ head, however, is not original to the statue. It has been restored based off of a plaster cast of a sculpture of Aristogeion’s head at Baiae. While their heads appear archaic, their bodies are certainly Classical in style. Although they are still a little bit stiffer than most Classical statues, they are much more dynamic than statues dating to the Archaic period. They are standing in a dramatic contrapposto, with their front leg bearing their weight. They have defined musculature that responds to the movement of their body, a common characteristic of Classical sculptures as well. In addition to Aristogeiton’s head, there have been a few other restorations. Aristogeiton’s left hand and right arm were added at the same time as his head. Harmodius’ arms, lower left leg, and right leg were all restored as well. In addition to their style, the subjects of these sculptures are quite interesting. These statues, in particular, are based on Classical bronze originals, which themselves were based on Archaic bronze sculptures. In the Classical originals, there would not have been tree trunks, as those are used to support the added weight of marble. The early Classical originals would have been displayed at the Athenian Agora after the Archaic originals were stolen by the Persians during their attack on Athens in 480 BC. The statues were commissioned by the city of Athens to celebrate Harmodius and Aristogeiton as heroes of the state. The two men planned to kill the tyrant Hippias, and his brother Hipparchos. However, they only managed to kill Hipparchos, and were killed themselves soon after. It also appears that the assassination attempt was over personal matters, not due to Hippias’ tyranny. According to ancient sources, Harmodius may have been romantically pursued by Hipparchos but turned him down in favor of Aristogeiton. Nonetheless, their actions were seen as an attempt to save Athens from tyranny. After Hippias was finally overthrown in 510 BC, they were celebrated as heroes by the Athenians, and the first bronze sculptures were commissioned. Their actions were once again solidified when these statues of the two men were commissioned by the Athenians to replace the bronze originals and set up at public expense. This is the first instance where portraits were set up by a community, rather than the individuals they portrayed. The communal nature of this commission further confirms the figures’ images as heroes to Athenian State as a whole, regardless of actual outcome of their actions. In fact, Harmodius and Aristogeiton’s legacy has earned them the title of “The Tyrant Slayers” to this day. 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. Evanston: Northwe stern U Press, 1969. 85-87. Print. Smith, Amy . "Athenian Political Art from the fifth and fourth centuries BCE: Images of Historical Individuals." Athenian Political Art from the fifth and fourth centuries BCE: Images of Historical Individuals. N.p., Jan. 2003. Web. 15 Mar. 2017. <http://www.stoa.org/projects/demos/article_portraits?page=7&greekencoding=>. "Tyrannicides - Aristogeiton." Tyrannicides - Aristogeiton — Sito ufficiale del Museo Archeologico Nazionale di Napoli. N.p., n.d. Web. 15 Mar. 2017. <http://cir.campania.beniculturali.it/museoarcheologiconazionale/thematic-views/image-gallery/RA97/?searchterm=Harmodius and Aristogeiton>. "Tyrannicides - Harmodius." Tyrannicides - Harmodius — Sito ufficiale del Museo Archeologico Nazionale di Napoli. N.p., n.d. Web. 15 Mar. 2017. <http://cir.campania.beniculturali.it/museoarcheologiconazionale/thematic-views/image-gallery/RA95/?searchterm=Harmodius and Aristogeiton>. http://classicalchopped.artinterp.org/omeka/files/original/cf0881f7049fc2c99639e09e4cc8e3e8.jpg 1c41b932488b9cca567aaf66273204ff 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 Terme Boxer Date A point or period of time associated with an event in the lifecycle of the resource 300BCE-50BCE Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Bronze, Copper Format The file format, physical medium, or dimensions of the resource 140 cm tall Source A related resource from which the described resource is derived Baths of Constantine, Quirinal Hill, Rome Rights Holder A person or organization owning or managing rights over the resource. Palazzo Massimo alle Terme, Rome, Italy Description An account of the resource Description: The bronze and copper Terme Boxer is a sculpture of a seated boxer. The boxer has an athletic, muscular and toned body. The hair and beard are curly. The head of the boxer is turned right and the shoulders are hunched. The facial expression of the boxer is one of pain and possibly torment. The sculptor purposely left dents on the face of the boxer and placed copper in those areas. This was to show the injuries that the boxer had gotten. The ears are swollen from past and present injuries and this is consistent with the physical appearance of boxers. There is an inscription on the boxer that reads "Apollonios Nestoros." The arms and hands of the boxer are on his knees and his upper body is relying on his legs for support. The boxer has gloves on his hands. The bronze has a fairly shine appearance. The bronze accentuates the musculature of the boxer's body. Significance: Where to start? This is one of the greatest works that I have ever seen. There are not many other works that are like this. For a start, the boxer is seated. Most sculptures were not seated. Second, the facial expression is truly striking. The boxer appears to truly be in a significant amount of pain. This would be the pathos. The viewer can really see and feel the emotion on the boxer's face. It could also be that the boxer does not have much energy left. It is important to recognize and understand that this is a Hellenistic sculpture. This means that this sculpture was made in the very last phase of ancient Greek art. However, the single most important aspect of this sculpture is that it was made using the lost wax casting method. This method allows for the intricate detailing of the beard and hair. As a result of the sculpture being made using the lost wax casting method, the sculpture is hollow and the material does not have a lot of width to it. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. "Apollonius, Seated Boxer." Khan Academy. N.p., n.d. Web. 07 Mar. 2017. "Poem for a Boxer at Rest." The Getty Iris. N.p., 05 Jan. 2017. Web. 07 Mar. 2017. "The Boxer: An Ancient Masterpiece Comes to the Met." The Metropolitan Museum of Art, i.e. The Met Museum. N.p., n.d. Web. 07 Mar. 2017. Contributor An entity responsible for making contributions to the resource Sai Teja Surapaneni 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 Terme Boxer Date A point or period of time associated with an event in the lifecycle of the resource Hellenistic, ca. 300-50 BCE Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Bronze, Copper Format The file format, physical medium, or dimensions of the resource 140 cm tall Source A related resource from which the described resource is derived Baths of Constantine, Quirinal Hill, Rome Rights Holder A person or organization owning or managing rights over the resource. Palazzo Massimo alle Terme, Rome, Italy Description An account of the resource Description: The bronze and copper Terme Boxer is a sculpture of a seated boxer. The boxer has an athletic, muscular, toned and glowing body. The hair and beard are curly. The head of the boxer is turned right and the shoulders are hunched. The facial expression of the boxer is one of pain and possibly torment. We know this due to the presence of the pained, anguished, tormented and exhausted expression on the face of the boxer. The pain is also conveyed through the cuts in the face of the boxer. The artist creates these cuts to show the actual cuts that the boxer had gotten whilst boxing. Copper is used in the face to represent blood that gushed out after cuts. The boxer almost appears to be looking up for help. In its current condition, the boxer has hollow eyes. The ears of the boxer appear quite swollen. There is an inscription on the boxer's left glove that reads "Apollonios Nestoros." Athletes in ancient Greece competed in the nude and the Terme Boxer is no exception. The boxer does not have any clothes on. The only piece of clothing that the boxer is wearing are gloves for boxing. The gloves are made of leather. The boxer's legs are spread apart and his arms are resting on his legs for support. The left foot is flat on the stone that the boxer is seated on and the right heel is half on the ground and half raised in the air. The boxer is seated in the nude on a piece of stone which extends forward till the bottom of the boxer's feet. The bronze has a fairly shine appearance. The bronze accentuates the musculature of the boxer's body. Significance: Where to start? This is one of the greatest works that I have ever seen. There is such a painful look. Here is a sculpture with a perfect body and yet there is an absolute agony in its face. The facial expression is truly striking. The boxer appears to truly be in a significant amount of pain. This would be the pathos. The viewer can really see and feel the emotion on the boxer's face. It could also be that the boxer does not any energy left. He is empty. There is no fuel in the tank. He is running on fumes. This is because the viewer is looking at the boxer after the bout. This is unlike Classical sculpture where the viewer is looking at the scene before an event. Instead this is the boxer after an event. Though the boxer has hollow eyes in its current state, originally there were eyes made of ivory and glass paste. Also, the swollen ears of the boxer could be showing the injuries that boxer had received from boxing matches. It is important to recognize and understand that this is a Hellenistic sculpture. This means that this sculpture was made in the very last phase of ancient Greek art. However, the single most important aspect of this sculpture is that it was made using the lost wax casting method. This method allows for the intricate detailing of the beard and hair. As a result of the sculpture being made using the lost wax casting method, the sculpture is hollow and the material does not have a lot of width to it. The Terme Boxer has individualizing features. The sculpture is of a weary and worn down boxer after a boxing match. The boxer's body shows the wear and tear of the match. There are gashes on the boxer's face. The energy has been drained out of the boxer. The drained face of the boxer shows us that. All of the the above point to the boxer being a portrait. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. "Apollonius, Seated Boxer." Khan Academy. N.p., n.d. Web. 07 Mar. 2017. "Poem for a Boxer at Rest." The Getty Iris. N.p., 05 Jan. 2017. Web. 07 Mar. 2017. "The Boxer: An Ancient Masterpiece Comes to the Met." The Metropolitan Museum of Art, i.e. The Met Museum. N.p., n.d. Web. 07 Mar. 2017. Contributor An entity responsible for making contributions to the resource Sai Teja Surapaneni 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. 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/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/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/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/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/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.