5 10 53 http://classicalchopped.artinterp.org/omeka/files/original/3af8b2b922dea7f02be53fc9ddc12c28.jpg eea9a50c4cdf5f6fa9a5ed91e0db1cbf 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 Young Flavian Woman Date A point or period of time associated with an event in the lifecycle of the resource Early 2nd Century AD, Flavian Dynasty Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Marble Format The file format, physical medium, or dimensions of the resource 63 cm tall Rights Holder A person or organization owning or managing rights over the resource. The Capitoline Museum of Rome, Italy References A related resource that is referenced, cited, or otherwise pointed to by the described resource. <a href="http://en.museicapitolini.org/collezioni/percorsi_per_sale/palazzo_nuovo/sala_degli_imperatori/busto_fonseca">Musei Capitolini </a><a href="https://www.khanacademy.org/humanities/ancient-art-civilizations/roman/roman-republic/v/portrait-bust-of-a-flavian-woman-fonseca-bust">Khan Academy </a> Bartman, Elizabeth. "Hair and the artifice of Roman female adornment." American journal of Archaeology (2001): pages 9-11. Kleiner, Diana EE. Roman sculpture. Yale University Press, 1992. Page 149. Stephens, Janet. "On (hair)pins and Needles" Ancient Roman Hairdressing (2013): pages 126 & 131 Contributor An entity responsible for making contributions to the resource Charlotte Myers Description An account of the resource Description: The Young Flavian Woman, also referred to as the Bust of Fonseca, depicts a female figure with her head tilted slightly to her left. The woman has a pointed nose and sharp features, such as her emphasized cheekbones. Her neck is quite long and lean and leads to her chest, which appears to be clothed in loose drapery. Her hair is upright in the front and consists of many small ringlets; these intricate ringlets fall on her forehead and in front of her ears. On the back of her head, the rest of her hair is pulled into a wide bun of braids. Small tendrils of hair frame the nape of her neck. The bust is in excellent condition and does not appear to have any significant damage. Significance: A delicate young female portrait is portrayed through the eyes of a detail-oriented sculptor in the Fonseca Bust. Her head tilts and her eyes look distant, as though she is deep in thought. She is characterized as a young Flavian woman as she is from the Flavian Dynasty, a time period in which Vespasian, Titus, and Domitian ruled over the Roman Empire. The Fonseca Bust’s hair probably the most defining characteristic of the bust. Described as a “circle of hair” (orbe comarum), the figure’s hair is quite unique and is representative of a distinctly Flavian style. The ringlets in front are pulled up quite high and frame her face, while a coiled, wide bun is situated on the back of her head. Chiaroscuro is created atop the head of the woman with the use of a manual drill, which the sculptor used to create depth within each ringlet. Some scholars believe that the hairstyle could have been an emulation (by many Flavian women such as this one) of the hairstyles worn by Domitia Longina, the wife of the Emporer Domitian. It is thought that a hairstyle this complex might have been kept in place with the help of beeswax or resin. Though many attribute this hairstyle to a wig or hairpiece, hairdresser and amateur archaeologist Janet Stephens, who specializes in ancient Roman hairstyles, believes that it was possible to achieve this through sewing the hair. Nevertheless, the hairstyle remains distinct to Flavian culture. Though the bust is most often identified as Flavian, it is debated by some scholars that it is actually from the Trajanic Period. More specifically, the young woman is sometimes identified specifically as the niece of Trajan, Vibia Matidia. Source A related resource from which the described resource is derived Rome, Italy http://classicalchopped.artinterp.org/omeka/files/original/fdb38f52aef03ee0f2e1b7be5d54d2e5.jpg 1fc950c2dc0eccbf711e47e612e0f05c 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 Commodus as Hercules Date A point or period of time associated with an event in the lifecycle of the resource 180-193 AD, Antonine Period Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Marble Format The file format, physical medium, or dimensions of the resource 133 cm tall Source A related resource from which the described resource is derived Esquiline, Rome Rights Holder A person or organization owning or managing rights over the resource. Capitoline Museum of Rome, Italy References A related resource that is referenced, cited, or otherwise pointed to by the described resource. <a href="http://en.museicapitolini.org/collezioni/percorsi_per_sale/museo_del_palazzo_dei_conservatori/sale_degli_horti_lamiani/busto_di_commodo_come_ercole">Musei Capitolini</a> Hekster, Olivier. "Propagating power. Hercules as an example for second-century emperors." Herakles and Hercules. Exploring a Graeco-Roman Divinity (2005): 205-21. Speidel, Michael P. "Commodus the God-Emperor and the army." The Journal of Roman Studies 83 (1993): 109-114. Contributor An entity responsible for making contributions to the resource Charlotte Myers Description An account of the resource Description: Commodus, rendered in the guise of Hercules in a marble bust, is depicted as a young, muscular man, who is mostly nude. He dawns the skin of a lion as his headdress, with the deflated beast’s front paws secured in a tight knot across his chest. His hair consists of many coiled curls, as does his beard. He is wielding a club over his right shoulder and holding small apples in his left hand. Two women, depicted in much smaller proportion than him, once held up the shield below his chest; however, damage over time leaves only one headless woman on Commodus’ right side. Aside from this, the statue is predominately held up by a small sphere below the shield and in good condition. Significance: Commodus, who became Emperor at age 20, was known as one of the most pompous and reckless emperors of the Roman Empire; in fact, it was even rumored that he murdered his own father. In this depiction of the violent young leader, he is rendered as haughty and disdainful, with sleepy-looking eyes and mop-like hair. His slightly parted mouth alludes to how Alexander was depicted. Commodus in the guise of Hercules renders the god-like way in which the Emperor wished to be remembered. Two militaristic women were originally depicted holding the shield of Commodus to showcase his dedication to campaigning and power through military force. Though his face is personalized, his body and garments are not. His heroism is shown through his nudity and his garments obviously allude to Hercules. The most obvious example of this is the lion skin draped over his head and shoulders, which Alexander was known to wear in portraiture as well. The apples in his hand represent the apples of Hercules’ labors; Hercules worked to finish his labors in order to become a real god. In this way, Commodus renders his own self-defined path to becoming a deity. Lastly, the two cornucopias represent abundance, indicating his wealth as a leader. http://classicalchopped.artinterp.org/omeka/files/original/5b026faceadfec4f21ccff8bf05f3c1d.png 117a5ad8bd681a4dffcdb196d6dfaf69 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 Equestrian Domitian Date A point or period of time associated with an event in the lifecycle of the resource ca. 95 AD, Flavian period Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Bronze Format The file format, physical medium, or dimensions of the resource The rider is 130 cm tall Source A related resource from which the described resource is derived Sacellum of the Augustales in the Forum at Misenum, Italy, Rights Holder A person or organization owning or managing rights over the resource. Archaeological Museum of Campi Flegrei, Baiae, Italy Description An account of the resource Description: The statue of “Equestrian Domitian” is a dynamic representation of a man riding a horse. The horse’s front legs are bent and lifted off the ground, with its left hoof raised slightly higher than its right. The main portion of the horse’s body is not made from bronze but from a light brown material. It is made up of 5 separate pieces leaving gaps between the right and left side, the back and front, and the neck and body. The rear and hind legs of the horse are missing. Its body is angled so that it appears as though it would be standing on its hind legs if they were still there. There is an open space in the restoration below the horse's head, which is made of bronze and is turned to the left. Its hollow eyes and mouth are wide open and its nostrils are flared. Its mane is tied into a small bunch in between its flattened ears. The man is sitting upright on the horse with his left arm is holding onto the horse’s reigns. His torso and head are turned to the right. His right arm is bent at the elbow so that his forearm is nearly vertical. He is holding a small spear in his hand. He is wearing a thigh-length tunic, a short cuirass, a military clock, and senatorial shoes. His cuirass is embellished with reliefs and incised decoration. At the center, there is the head of Medusa. Underneath, there are two snakes joined in a Hercules knot. On the right shoulder, an infant Hercules is depicted strangling two snakes. The remainder of the cuirass is covered with incised sea creatures such as dolphins, eels, and fish. The man’s wavy hair continues down the back of his neck. His face shows signs of verism, including wrinkles on his forehead, nose, and mouth. His nose is large and his mouth is very small. There is a seam along the edge of his face, and there are signs of damage along the left side of the neck leading to a hole along this seam. Significance: This portrait was found in the Forum at Misenum in a temple to the divine emperors. However, despite being named after Domitian, this portrait in its current state cannot represent this Emperor because he was given a damnatio memoriae after his death. This means that he was not deified and therefore would not be honored in this temple. Instead, it shows the face of Nerva. Its name is not wrong, however, because the body does, in fact, depict Domitian. It appears that the Romans chose to erase Domitian’s memory by simply reworking this piece rather than destroying it. The seam that goes around the face clearly indicates that Nerva’s face was not the original. Without his face, Domitian is still recognizable because of his mullet-like hair and the personalization on his cuirass. Domitian was well known for associating himself with Hercules and Minerva, who are both referenced on the breastplate. Gorgons were commonly found on armor, as they were believed to be apotropaic. The specific choice of Medusa, however, is specifically associated with Minerva. The incised sea creatures were likely a reference to the statue’s location in Misenum than Domitian personally. In addition to helping identify the portrait’s original subject, the figure’s clothing helped art historians establish that statue depicts the figure hunting lions. Typically, an equestrian statue depicts the rider engaged in warfare. However, Domitian is not wearing the attire associated with battle. He does not have a helmet or a shield, both of which are generally found in battle scenes. Furthermore, he is not wearing caligae, but senatorial shoes. Although there are other examples of Roman portraits in which the emperor wears both his military uniform and senatorial shoes, they are not battle scenes. Nonetheless, it is clear that the figure is in the process of attacking something. Many people believe this to be a lion, thus making this a hunting scene. This is further confirmed by the horse’s expression. Although much has been restored, thankfully the horse’s head has remained intact. Its face shows a significant amount of fear, and it is turning away from something that perhaps would have been just to the right of its center. Roman horses were well trained in battle and would not have exhibited this level of fear. This confirms that this was likely a lion hunting scene, as that would be something that the horse was unfamiliar with and therefore understandably afraid. Like many hunting scenes, this statue may have been erected to celebrate Domitian, and later Nerva’s, virtus. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Tuck, Steven L. A History of Roman Art. Chichester, West Sussex: John Wiley & Sons Inc, 2015, pp. 198-199. Tuck, Steven L. The Origins of Roman Imperial Hunting Imagery: Domitian and the Redefinition of Virtus under the Principate. Greece & Rome, vol. 52, no. 2, 2005, pp. 221–245., www.jstor.org/stable/3567870. http://classicalchopped.artinterp.org/omeka/files/original/666c723c79109c412e4940be0f2fc5b2.jpg 009f885f59bc9a68fcc67d56fe7f6ab1 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 Equestrian Marcus Aurelius Date A point or period of time associated with an event in the lifecycle of the resource 173- 176 AD, Antonine Dynasty Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Gilded Bronze Source A related resource from which the described resource is derived Unknown Contributor An entity responsible for making contributions to the resource Gentry Pack Format The file format, physical medium, or dimensions of the resource 424 cm tall Rights Holder A person or organization owning or managing rights over the resource. Campidoglio Piazza, Rome Description An account of the resource Description: This over life-sized gilded bronze portrait shows the Roman emperor, Marcus Aurelius, riding mounted on top of a horse with an outstretched right arm. His palm is gently opened and faced downward, signaling a notion of peace. He is dressed in his traditional military garb; however, he is wearing closed-toed shoes rather than typical military sandals. He is wearing a paludamentum (a military cloak) and is wearing a tunic rather than a traditional cuirass. He has a curly head of hair, along with a moderately thick beard. His facial expression is relaxed as he gazes off into the distance. His facial structure appears slightly idealized and he has no signs of strong wrinkles. There are subtle suggestions of lines under his eyes, and along his cheeks, causing him to appear approximately 30-40 years old. His eyes are wide and shaped like tear drops, while his nose is narrow and pointed downward. The horse’s head is pointed in the same the direction Marcus Aurelius’ head. Its front right leg is raised in the air, while with the other legs are planted in the ground in order to suggest either forward movement, or the act of stepping over something. Significance: This portrait is a clear display of the way Marcus Aurelius wanted to be presented to the public. The military clothing that he is wearing emphasizes his expertise as a leader on the battle field, while his close-toed shoes allow him to maintain his patrician (elite) status. One of the most prominent characteristics of this portrait is his outstretched hand. This peaceful, calming gesture is very symbolic of Marcus Aurelius’ merciful character. Rather than being a head strong leader like former emperors, Marcus Aurelius had a much calmer demeanor and learned to be a philosopher on how to lead a good life. The horse’s posture has a very expressive meaning within the overall composition as well. The detailed renderings of the muscles and size of the horse display how much power Marcus Aurelius has under his control. Some researchers believe that there was once an additional sculpture of a defeated barbarian included underneath of the horse’s raised foot. Such an inclusion would mean that Marcus Aurelius’ calming gesture would actually be an act of granting mercy and sparing the life of the weakened barbarian. This belief would be historically accurate according to the descriptions of Marcus Aurelius’ character, however it is rare to find out for certain due to the unknown source sight of this sculpture. It is incredibly rare to find a bronze portrait still intact because the material itself was valuable and could be recycled. The only reason that this statue survived was because it was mistaken for a statue of the Christian emperor Constantine, rather than the pagan emperor Marcus Aurelius, and was deliberately preserved by Rome's Christian population. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. American Historical Association Website: https://www.historians.org/teaching-and-learning/teaching-resources-for-historians/teaching-and-learning-in-the-digital-age/images-of-power-art-as-an-historiographic-tool/equestrian-statue-of-marcus-aurelius Khan Academy Website: https://www.khanacademy.org/humanities/ancient-art-civilizations/roman/middle-empire/a/equestrian-sculpture-of-marcus-aurelius Capitoline Museum Website: http://en.museicapitolini.org/collezioni/percorsi_per_sale/museo_del_palazzo_dei_conservatori/esedra_di_marco_aurelio/statua_equestre_di_marco_aurelio http://classicalchopped.artinterp.org/omeka/files/original/2ba22c5ca567055ce10b91c0cb34c7ae.jpg 030d0074708b086387dabfb9a15ffbfb Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hierapytna Hadrian Date A point or period of time associated with an event in the lifecycle of the resource 120-125 CE Antonine Period Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Marble Format The file format, physical medium, or dimensions of the resource 268 cm Source A related resource from which the described resource is derived Hierapytna – on the island of Crete, Greece Rights Holder A person or organization owning or managing rights over the resource. Archaeological Museum, Istanbul, Turkey References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Future Learn Website: https://www.futurelearn.com/courses/hadrians-wall/0/steps/5086 Kleiner, Diana E. E. Roman Sculpture. Yale UP, 1994, 241. Print. Research Gate Website: https://www.researchgate.net/publication/296324135_Bar_Kokhba_and_the_panhellenion_The_statue_of_hadrian_wearing_armour_from_HierapytnaCrete_Istanbul_archaeological_museum_inv_no_50_and_the_cuirassed_torso_inv_no_8097_in_the_piraeus_archaeological_Mus University of Libraries Website: http://digital.library.louisville.edu/cdm/ref/collection/vrc/id/1167 Contributor An entity responsible for making contributions to the resource Ryan Tetter Description An account of the resource Description: The portrait statue of Hadrian as imperator is an over life-size statue of the emperor, who is standing with his left foot on the back of a fallen barbarian. His right arm is missing while his left arm is resting on the left leg – the same leg pinning the barbarian to the ground with his military open-toed boots. He has a beard with a serious look upon his middle-aged face. On his head is a large corona triumphalis with an elaborate jewel set into the center. On his body, he is wearing a cuirass with his paludamentum tied around his shoulder, and his breastplate depicts some key individualizing features. The cuirass itself has four major features: in the center is an armed statue of Athena, who is being crowned with wreaths on both sides by two winged Victories. Athena is standing on the back of a headless Capitoline she-wolf who is feeding both Romulus and Remus. Significance: Hadrian, like Trajan before him, is yet another ruler who does not age in his portraits. He seems to have picked an age (forty years old) for his portraits and stuck with it. The depiction of Hadrian standing over a downtrodden Dacian barbarian is significant since it is perhaps a literal representation of conquest. In this instance, it is a metaphor for stepping on a conquered population. This is a very clear illustration of Hadrian’s accomplishments as a military commander. Hadrian’s military accomplishments are further exemplified in the figural decoration of his cuirass because it expresses Hadrian’s political philosophy. The scene can be interpreted as the triumph of Graeco-Roman civilization over the barbarian world outside the borders of the Roman Empire. In this case, Athena (symbolizing Athens) is standing on the back of the she-wolf who suckles Romulus and Remus (Rome). The Victories in the scene symbolize military victory (conquest style victory). From this depiction, it can be interpreted that Rome is essentially propping up the Greek world; the once great Greek world is now reliant on Rome for its sustenance and power since Rome is now the foundation in this united ideal. Hadrian’s own outlook on the empire is showcased on his cuirass, giving the revival of the glory that was once Classical Greece. It is also important to note that the imagery of this cuirass is so thoroughly identified with Hadrian that even when a headless statue depicting the same scene was discovered in the past, it was confidently identified as a portrait statue of Hadrian. http://classicalchopped.artinterp.org/omeka/files/original/f39b4e185db83936fe6cb6e0d459d848.jpg e128188fedb56c4771371000261fd2ed 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 Met Caracalla Date A point or period of time associated with an event in the lifecycle of the resource ca. 212–217 AD, Severan dynasty Creator An entity primarily responsible for making the resource The Caracalla Master Medium The material or physical carrier of the resource. marble Format The file format, physical medium, or dimensions of the resource 36.2 cm tall Source A related resource from which the described resource is derived Rome Rights Holder A person or organization owning or managing rights over the resource. Metropolitan Museum of Art, NY, United States. Contributor An entity responsible for making contributions to the resource Megan May Description An account of the resource Description: The Met Caracalla is a portrait head of emperor Marcus Aurelius Severus Antoninus Augustus of the Severan dynasty. The head is square shaped and has a slight indentation at the chin. The sculpture is slightly damaged with sharp breaks along the neck, as well as chips to the nose, outer left eyebrow, and cheek. The face of the portrait is smooth and idealized, aside from some wrinkles on the forehead. These wrinkles suggest a tension or concentration in the face, rather than old age. These wrinkles also contribute to a furrowed brow, giving the portrait a glaring or frowning expression. Caracalla’s lips are full and slightly parted. Above his lips is a thin moustache, suggested by small lines in the marble. The figure also has facial hair in the form of a beard around the far edges of his face and chin. Similar to the moustache, the beard is fairly thin and cropped close to Caracalla’s face. The portrait’s nose is at the center of the face above the lips and moustache. Though the left portion of the nose has suffered some damage, the broad ridge of the nose and rounded nostrils are still visible. Caracalla’s eyes are on either side of the top of the nose and below his eyebrows. Carved in deep relief, his eyes appear to droop slightly at the outer edges and glance upward. There is a line below the outer edge of each eye to suggest an eye bag. The sculpture’s iris and pupil are drilled and sit towards the top of the eye. The irises do not form complete circles and are severed by the top lid. The eyebrows, carved in high relief, protrude from the face and cast a dramatic shadow over the eyes. Caracalla’s hair is short and wavy. Significance: Caracalla is known for being a ferocious and cruel leader, having murdered his brother and practiced violence through the military. This portrait displays Caracalla as an adult, and when he was at least eighteen when this portrait was completed. While Caracalla took the name of Marcus Aurelius, he does not liken himself to his predecessors with a luxurious beard and hair. Instead, his hair and beard are closely cropped to his head and face, a more military style. This choice may be related to advice his father, Septimus Severus, gave on his death bed that suggested he prioritize Roman soldiers and forget all other people during his rule. Caracalla followed this advice and spent a great deal of time with his military, even increasing their pay. During his rule he had the desire for many military conquests, and in later portraiture he attempts to liken himself to Alexander the Great. He begins to do this here with the turn of his head. Caracalla’s glaring, intense expression is the most striking in this portrait, and is representative of his severe disposition. The “X” shaped created by the furrowed brown and nasal labial lines in the face defines the style of the Caracalla Master, and this “X” shape first seen in this portrait became a popular style for portraits to come. In this way the portrait depicts his inner psyche, and is thus similar to Antonine portraiture, especially that of Marcus Aurelius. This is an official portrait, and was most likely made at an imperial workshop since it was found in Rome. It is part of a larger sculpture, and the fragments that remain are his legs. These fragments are bare legs, suggesting Caracalla may have been dressed in military garb. In this portrait Caracalla attempts to depict his intensity as a leader and emphasize his role in Rome’s military. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Anderson, Maxell L. "A Roman Emperor’s Tough Guy Image." ARTnews. Art Media ARTNEWS, 1 Mar. 2004. Web. 09 Apr. 2017. Kleiner, Diana E. E. "The Severan Dynasty." Roman Sculpture. New Haven, CT: Yale UP, 2006. 324-25. Print. "Marble Portrait of the Emperor Caracalla | Roman | Severan | The Met." The Metropolitan Museum of Art, I.e. The Met Museum. N.p., n.d. Web. 09 Apr. 2017. http://classicalchopped.artinterp.org/omeka/files/original/a1ef5ce45ce5c5200b83e3a2fa795216.jpg 4ba37e457ba8ac09045ac5c49d037ec4 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artemidorus Date A point or period of time associated with an event in the lifecycle of the resource AD 100-120 Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Linen, Plaster, Gold Leaf, Paint. Format The file format, physical medium, or dimensions of the resource 171 cm Source A related resource from which the described resource is derived Hawara, Egypt Rights Holder A person or organization owning or managing rights over the resource. The British Museum of London, England Description An account of the resource Description: The Artemidorus is a mummy wrapped fully, plastered, and painted. Along with the paint there is also use of gold leaf for designs throughout. The portrait depicts Artemidorus wearing a white mantle and tunic. He is a thin man with a long face and neck. Along with this you can also notice that he has a very long and narrow nose. He has a full set of hair that fall in an almost comma like shape. He has black hair and brown eyes, with arching eyebrows over them. His eyes are wide and large. If you look closely you can tell that his irises are slightly uneven giving him a somewhat cross-eyed look. There is also indication of bags underneath the eyes. You can also see that he has a slight smile and pucker to his lips. Along with this, there is a small patch of hair right below his lip, almost like a goatee, but higher up. He is a tan man with smooth skin. He is also depicted wearing an Isis wreath on top of his head. There is also a inscription underneath the painting that says “Farewell, Artemidorus.” Significance: The mummy looks like this because the human body is wrapped entirely by linen, until it reaches this stage. Then the portrait is painted on to represent how the person looked like when they were alive. He is shown as a thin man but not sickly, showing that he was probably a relatively fit individual. His nose and skin tone are indications that this painting is more likely to be a realistic representation of the individual. Despite it being realistic, he still seems somewhat idealized through his smooth and even skin. However, this could also be attributed to his age. The smooth skin depicts him as a young man, most likely in his early 20’s. His hair shape resembles a comma, which is very Julio-Claudian. This gives the portrait Roman qualities. His clothes also represent who he was in his life. The showing of the white mantle would have us believe he is fully clothed in his mantle and tunic. Those represented in clothes like this were typically intelligent people, rather than those depicted in the nude to represent their strength and heroism. Which also shows a connection to Greece. The Isis wreath is also indicative of knowledge. Another aspect of the paining that supports its veristic nature is Artemidorus’ skin tone. This I because the tone of his skin is darker than we typically see with Egyptian art, we have only seen this recently with paintings like this and the Severan Family Portrait. The unevenness of his rises can also be a veristic choice, or can be attributed to simple human error. Finally, one last aspect to add to the veristic nature of the portrait is the small patch of hair underneath his lip. During this century we typically saw facial hair as full beards, like in the Severan Family portrait. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.google.com/culturalinstitute/beta/u/0/asset/mummy-case-and-portrait-of-artemidorus/PwEEPjtssh_4JA http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=172739&partId=1 http://digital.library.louisville.edu/cdm/ref/collection/vrc/id/1262 https://www.theguardian.com/culture/2001/nov/24/art Contributor An entity responsible for making contributions to the resource Soe Naing Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Artemidorus Date A point or period of time associated with an event in the lifecycle of the resource AD 100-120, Trajanic Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Linen, Plaster, Gold Leaf, Paint, Limewood. Format The file format, physical medium, or dimensions of the resource 171 cm Source A related resource from which the described resource is derived Hawara, Egypt Rights Holder A person or organization owning or managing rights over the resource. The British Museum of London, England Description An account of the resource Description The Artemidorus is a mummy wrapped fully, plastered, and painted. Along with the paint there is also use of gold leaf for designs throughout. The portrait depicts Artemidorus wearing a white mantle and tunic. He is a thin man with a long face and neck. Along with this you can also notice that he has a very long and narrow nose. Full head of hair that falls across his forehead in individual locks that have the appearance of “commas.” He has black hair and brown eyes, with arching eyebrows over them. His eyes are wide and large. If you look closely you can tell that his irises are slightly uneven giving him a somewhat cross-eyed look. There is also indication of bags underneath the eyes. You can also see that he has a slight smile and pucker to his lips. Along with this, there is a small patch of hair right below his lip, almost like a goatee, but higher up. He is a tan man with smooth skin. He is also depicted wearing an Isis wreath on top of his head. There is also an inscription underneath the painting that says “Farewell, Artemidorus,” spelled in Greek letters. Underneath the portrait there are depictions of Egyptian funerary scenes, overlaid with golden leafs. The bottom is also coated in red-painted plaster. Significance The mummy looks like this because the human body is wrapped entirely by linen, until it reaches this stage. Then the portrait is painted on to represent how the person looked like when they were alive. He is shown as a thin man but not sickly, showing that he was probably a relatively fit individual. His nose and skin tone are indications that this painting is more likely to be a realistic representation of the individual. Despite it being realistic, he still seems somewhat idealized through his smooth and even skin. However, this could also be attributed to his age. The smooth skin depicts him as a young man, most likely in his early 20’s. The shape of his individual locks of hair resemble commas, which is very Julio-Claudian. His clothes also represent who he was in his life. The showing of the white mantle would have us believe he is fully clothed in his mantle and tunic. Those represented in clothes like this were typically intelligent people, rather than those depicted in the nude. People depicted in the nude were usually representative of heroism and strength. The Isis wreath is also indicative of knowledge, through its connection to the cult of Isis. The cult of Isis was a religious sect that gave Christianity a run for its money. Another aspect of the painting that supports its veristic nature is Artemidorus’ skin tone. This is because the tone of his skin is darker than we typically see with Egyptian art. The unevenness of his irises can also be a veristic choice, or can be attributed to simple human error. Finally, one last aspect to add to the veristic nature of the portrait is the small patch of hair underneath his lip. During this century we typically saw facial hair as full beards. References A related resource that is referenced, cited, or otherwise pointed to by the described resource. https://www.google.com/culturalinstitute/beta/u/0/asset/mummy-case-and-portrait-of-artemidorus/PwEEPjtssh_4JA http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=172739&partId=1 http://digital.library.louisville.edu/cdm/ref/collection/vrc/id/1262 https://www.theguardian.com/culture/2001/nov/24/art Contributor An entity responsible for making contributions to the resource Soe Naing http://classicalchopped.artinterp.org/omeka/files/original/2c76f9d947980db612396a8229e687fe.jpg d967673cc3acf0d2405d19a258c3c575 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 Severan Family Tondo Contributor An entity responsible for making contributions to the resource Nora Cheung 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 Severan Family Tondo Date A point or period of time associated with an event in the lifecycle of the resource ca. 200 AD Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Tempera paint on wood Format The file format, physical medium, or dimensions of the resource 30.5 cm diameter Source A related resource from which the described resource is derived Djemila, Egypt Rights Holder A person or organization owning or managing rights over the resource. Staatliche Museum, Antikensammlung, Berlin, Germany Contributor An entity responsible for making contributions to the resource Nora Cheung References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Ancient History Encyclopedia Website: http://www.ancient.eu/image/2510/ Kleiner, Fred S. "The Severans." Gardener's Art through the Ages: The Western Perspective, fourteenth ed., e-book, Boston, Wadsworth, Cengage Learning, 2014, pp. 219-20. Kleiner, Fred S. "The Severan Dynasty." A History of Roman Art, Enhanced ed., e-book, Boston, Wadsworth, Cengage Learning, 2010, pp. 231-37. Description An account of the resource Description: The Severan Family Tondo is a circular piece of wood, with jagged edges on the top left perimeter. Within the circle are four individuals; two taller and larger individuals standing in the background, with two much shorter and smaller figures standing before them. The figure standing in the background to the left is a woman, who is only partially visible because of the figure standing in front of her. Her brown hair is parted in the middle, and hangs to just below her jawline. It has a striped pattern to it, and frames three circular earrings that are hung from non-visible ears. She has almond shaped eyes and straight eyebrows. Her lips are small and her mouth is taut. Around her neck hangs a string of white pearls. On her head rests a halo-shaped crown that is adorned with white and green jewels. To her right is a male figure, which a large face and round, high cheekbones. He has dark skin and wide brown eyes. He as well is wearing a crown with golden leaves and a large red jewel in the center, and two white jewels lateral to the center. His hair is beige and peppered with grey. He has a long, curly beard that reaches to the midpoint of his neck. His beard is made of corkscrews that meet in the center of his chin and face inward towards each other. In front of him stands a mal child, who reaches the man’s collarbones. He has dark hair that is also surrounded by a crown of golden leaves, with a red jewel in the center and green jewels to the side. There is a fourth figure standing in front of the woman, but where the face is located, all the paint is scraped off. All of the figures are wearing gold, white, and brown tunics, and can only be seen from the chest up. Significance: This piece stands out not only because of its unusual circular shape, but also because it gives modern viewers a glimpse into the political drama during the Severan Dynasty. This panel, most likely cut from a larger wall painting hung in a public space then cut to be sold, depicts the family of the Roman Emperor Septimius Severus. Severus, the first African Emperor of the Roman Empire, planned to split power between his two sons; Geta and Caracalla. Caracalla, displeased with this arrangement, killed Geta to consolidate power. He then issued a “damnatio memoriae”, an edict that would erase the memory of the person from art and other forms of documentation. In an effort to scrub Geta’s presence from history, the face of this family portrait was scraped off. This picture also shows his wife, Julia Domna. Her hair in this portrait (and other depictions) has the texture of a melon, with horizontal stripes that go towards the back of the head. Many art historians believe that this was a wig, or a result of traveling on campaign with her husband. Because she would be caring for soliders in battle, she would not have time to create the ornate, popular hairstyles common with the wives of other emperors. This piece is also significant because Septimius Severus is visually aligning himself with Marcus Aurelius, his successful predecessor. With long, curly hair and a grey-tinged beard made of inward facing corkscrews, he visually associates himself and highlights the succession of power without a shared ancestry. http://classicalchopped.artinterp.org/omeka/files/original/8b5cb55a75a4b4d0ce242ab8c6680630.png 0ae0ead64bd376d3260c3bd5adf9717a 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 "The European" Date A point or period of time associated with an event in the lifecycle of the resource ca. 117-138 AD, Hadrianic Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. cedar wood painted with encaustic and gold Format The file format, physical medium, or dimensions of the resource 42 cm Source A related resource from which the described resource is derived Antinoopolis, Egypt Rights Holder A person or organization owning or managing rights over the resource. The Louvre, Paris, France References A related resource that is referenced, cited, or otherwise pointed to by the described resource. http://www.louvre.fr/en/oeuvre-notices/portrait-woman-known-l-europeenne http://www.museumlab.eu/exhibition/06/about.html http://www.smithsonianmag.com/history/the-oldest-modernist-paintings-20169750/ http://www.vauchot-conteur.fr/wp-content/uploads/2011/10/AVB28-96-97-FAYOUM.pdf Doxiadis, Euphrosyne, and Dorothy J. Thompson. The Mysterious Fayum Portraits: Faces from Ancient Egypt. London: Thames & Hudson, 2000. 86-100; 114; 147-150; 213. Print. Contributor An entity responsible for making contributions to the resource Charlotte Mann Description An account of the resource Description: This encaustic painting on rectangular cedar wood, known as “L’Européenne,” depicts the portrait bust of a young woman, from her head to her upper body, placed atop a grey-blue background. Her face, an ovular shape with a subtle point at its base, consists of soft, delicate features, including a long, slender nose and teardrop recess above small lips slightly upturned on the right side. Disproportional to these features, her big, pointed ears, characterized by earrings consisting of a black stone set between two pearls, measure to nearly one-third of her facial height. Perhaps most significant, however, are her large, lidded eyes enclosed by smoothly curving brows, which highlight dark, rounded irises that peer out to her right toward the viewer as the focal point. They appear naturalistically rendered, even consisting of blacker pupils at the center, as well as tiny white specks in the upper and lower portions of the irises, which signifies the reflective, watery quality of the eyes, thus adding a lifelike effect. Additionally, the slight shadows at the bottom rims of the eyes and beneath the mouth, and the more prominent ones along the right brow, eye socket, nose bridge, and cheek, create a sense of three dimensions, based on the light coming from the viewer’s left. Whereas the right side of the face includes a greyish-pink blush, the left, brighter and more directly lit, reveals a slight orange tint atop her otherwise pale, almost white skin. Painted with the same small, impressionistic strokes of the face, the subject’s hair consists of fine black strands moving upward and coalescing at the upper head in a braided band, topped by a spherical gold hairpin. In the lower portion of the bust, a slightly worn, gold-leaf cloth piece drapes around her slender neck and shoulders, down to a green, gold-lined brooch just above her chest. Under this scarf-like element rests drapery characterized by a more saturated gold color with purple diagonal folds, which completes her elegant appearance. Significance: A rare example of Greco-Roman painting preserved from antiquity, this female portrait expresses the realism common in Egyptian “Fayum portraits” from the 1st and 2nd centuries AD. Its features mark it undeniably as one of these so-called “Fayum portraits,” named for the Fayum oasis in Egypt, 150 miles south of Alexandria, from which many were first excavated by British archaeologist W.M. Flinders Petrie between 1887 and 1889. Although the provenance of this particular piece is unknown, its stylistic characteristics, remarkably similar to those of the Portrait d’Homme Barbu in the Musée des Beaux-Arts de Dijin, suggest that it comes from the more southern Antinoopolis site, uncovered by Egyptologist Albert-Jean Gayet between 1896 and 1911. Created by Roman emperor Hadrian in honor of his companion, Antinous, Antinoopolis was most likely comprised of Greek colonists, including those from Greek settlements in Fayum, who were dubbed, “Antinoans, New Greeks,” by Hadrian and may have brought their illusionistic painting techniques and funerary practices to the new city. In their original context, portraits such as this one were added to the front of Egyptian mummies decorated with gold-leaf scenes, as a part of a funerary practice aiming to preserve the soul of the individual in the afterlife. It is for this reason that the eyes are enlarged and emphasized, since they enliven the portrait and communicate the person’s soul. While most of paintings from antiquity have not survived, this portrait and others like it exist today as unique specimens because they were preserved in Egyptian desert conditions. Stylistically, they offer fascinating and significant insights into Greco-Roman painting traditions, which likely trace back to the naturalistic techniques of Apelles, Alexander the Great’s official portrait painter, in the 4th century B.C. When Macedonians came to Egypt during Hellenistic times, aspects of Apelles’ style were purportedly incorporated into the Alexandrian school of painting, which eventually developed into the Fayum tradition visible in this portrait. Most notably, this is evident in the encaustic method used to create it, a fine painting technique of Classical Greek origin that was used for realism. For this portrait, the cedar wood would have been prepped with a black coating, before being painted quickly with hot beeswax mixed with pigments, particularly the Greek primaries, white, yellow ochre, red and black, using a brush, and refined with a sharp tool called a cauterium, to blend uneven surfaces together. Given this hasty process, caused by the quick drying time, it is not surprising that the fine, painterly strokes have been compared to impressionism by scholars such as Doxiades. Aesthetically speaking, this portrait, acquired by the Louvre in 1951, derives its name, “the European” from its pale skin, which may be an appropriate label since most of the settlers in Antinoopolis were of Greek origin. Her clothing, consisting of gold drapery, a hairpin, and an emerald brooch, most likely reflects the Greco-Roman fashions, as it was made when Egypt was under Roman Imperial control. Interestingly, the gold-leaf, unlike many other Fayum portraits, where it was applied to the background, is strictly used on her garments. Of all her features, she is best remembered for her “curious gaze”, as her lively eyes look to her right, rather than straight out, marking her distinctiveness among Fayum types and preserving her individual personality, which viewers in the Louvre can still witness today. http://classicalchopped.artinterp.org/omeka/files/original/7acc0f297690cb5f3027215487de7d2d.jpg 59f5ea66e323ab43b54ce519f4176814 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 Vatican Cleopatra Date A point or period of time associated with an event in the lifecycle of the resource Republican, ca. 40-30 BC Creator An entity primarily responsible for making the resource Unknown Medium The material or physical carrier of the resource. Marble Format The file format, physical medium, or dimensions of the resource 39cm Source A related resource from which the described resource is derived Near Villa dei Quintili in Rome, Italy in 1784 Rights Holder A person or organization owning or managing rights over the resource. Musei Vaticani, Vatican City Contributor An entity responsible for making contributions to the resource Mallory Haselberger References A related resource that is referenced, cited, or otherwise pointed to by the described resource. Ashton, Sally-Ann. "Archaeological Traces of Cleopatra in Rome." Cleopatra and Egypt, Malden, Blackwell, 2008, pp. 57-60. Print. Dillon, Sheila. "The Female Portrait Face." The Female Portrait Statue in the Greek World, New York, Cambridge UP, 2010, pp. 114-15. Print. Kleiner, Diana E. E. Cleopatra and Rome. Cambridge, Belknap Press of Harvard UP, 2005, pp. 203-204; 218-219. Print. Robins, Gay. "Royal Women and Queenship." Women in Ancient Egypt, Cambridge, Harvard UP, 1993, pp. 23-24. Print. Description An account of the resource Description: The Roman marble portrait bust known as the “Vatican Cleopatra,” depicts the neck and head of a female figure. As with other female portraits of the Roman Republican period, the figure has a youthful, idealizing oval face with smooth skin, gently curved eyebrows, and a small, full-lipped mouth. Her eyes are large and almond-shaped, and her chin is gently rounded below the mouth. She stares vacantly into the distance, retaining a calm and serene expression that recalls female portraiture found in the Greek Hellenistic period. On the surface of the left cheek, there is a small fragment of marble that extends slightly above the plane of the face. The figure wears the Greek “melon coiffure” of evenly divided braids beginning at the crown of the head and extending to the nape. The braids are gathered into a knot on the back of the head and tied, similar to the knot of hair on top of the head in portraiture of the Greek goddess Aphrodite. Around the head, the figure wears a wide diadem that drapes under the bottom of the knot on the back of the head. On the front of the diadem above the forehead, the figure has a broken nub of marble that has been suggested by scholars to be the piece of a lotus crown or a uraeus, the royal cobra, a characteristic mark of the Egyptian pharaohs. Significance: Despite Cleopatra VII’s connection to both Julius Caesar and Marc Antony of the Roman Empire, depictions in-the-round of the Hellenistic Egyptian queen of Roman origin were rare. Until the period of the early 1930s, the portrait of the “Vatican Cleopatra” was understood as a representation of a priestess of Ceres rather than Cleopatra VII—the head had been placed into a body recovered from the same villa, and the two objects were presented together incorrectly for almost two hundred years. A German archaeologist first recognized the inconsistency of the image of the head featured with the body of a priestess, noting that the head bore a resemblance to coin portraits of Cleopatra VII found in Rome and Alexandria. The nose, which had been restored in the 1800s but removed later because of its incorrect alignment with the face, mimicked the hooked quality of the nose shape shown of the figure in her lifetime coin portraits across the empire. Though much has been learned of the “Vatican Cleopatra,” the sculpture still leaves many questions unanswered regarding its placement, use, and function during Roman times. Since its recognition as a portrait of Cleopatra VII, many scholars have suggested, by reviewing the writings of the Roman historian, Appian, that the face is a copy of a full-length gold sculpture dedicated by Julius Caesar to Venus Genetrix. Venus Genetrix was the Julio-Claudian line’s version of the goddess Venus, and most importantly, Caesar’s ancestor, therefore making the significance of Cleopatra VII being represented alongside the goddess more emblematic of her importance in the familial line of the Julii. The original sculpture could have been placed in the temple alongside a sculpture of Venus, one of Julius Caesar, and possibly one including the couple’s son, Caesarion. Some have identified the small piece of marble on the figure’s face as being an indication of Cleopatra rendered in the role of Venus: it is possible that the child Caesarion was represented as the god Eros, Venus’ son, sitting on the shoulder of his mother with one hand resting gently on her cheek. Other scholars, however, have interpreted the excess piece of marble simply as a mark utilized by the artist during carving that was never fully rendered. Though a depiction of Cleopatra VII in the guise of Venus would have served as a symbolic maternal representation of the queen, no ancient sources describe the original gold statue of the Temple of Venus Genetrix in detail or mention a portrait completed of Cleopatra VII as a goddess during her time in Rome.