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Etruscan goddess of the underworld, on the lid of a coffin. Note the wings, one of the characteristics of Vanth.
(I apologize for the slant in this photo, as I'm pretty short.)
Taken at the Glyptoteket in Copenhagen, Denmark.
Greek, 320 BC
Originally part of a funerary monument, this head of a girl displays facial features and a hairstyle typical of Athenian sculpture in the late 300s B.C. The girl's oval face, small, bow-shaped mouth, and deep-set, thick-lidded eyes derive from features made popular in the preceding decades in the work of the sculptor Praxiteles. She wears her hair parted in rows, braided and pulled back, a style called a melon coiffure by scholars. On the girl's neck, there are two widely spaced fleshy rings with an indentation between them, so-called "Venus rings." This trait was probably a status symbol, indicating the health and good nutrition provided by wealth.
This head was made separately and inserted into a body carved in relief on the back slab of a naiskos, or small three-sided funerary monument. The flat surfaces on the back of the head rested against the slab. They show that the girl was posed in a three-quarter frontal view.
SERGIEV-POSAD – The Heart of Russian Orthodox Church. 2019.
СЕРГИЕВ ПОСАД – Сердце Русский Православной Церкви.
Bronze
Northeastern Thailand
approx. 1500 - 1000 BCE
Available light photo
Taken at the Asian Museum of Art, San Francisco
Hippocampus on an Etruscan pot. Since the Etruscan underworld was reached by a voyage across an ocean, it is possible the hippocampus represents one of the dangers a soul would have to face on their journey to the underworld.
Taken at the Glyptoteket in Copenhagen, Denmark.
Greek,500-480 BC
The Greater Panathenaia, a state religious festival, honored Athena, the patron goddess of Athens. Held every four years, the festival included athletic and musical competitions, and amphorae filled with oil from Athena’s sacred olive trees were given as prizes in the Panathenaic Games.
These Panathenaic Amphorae had a distinctive form with narrow necks and feet, and received standard decoration, always in the black-figure technique. On the front, Athena in her guise as “Promachos” – in the frontline of battle - strides forth between columns. Running along one of the columns is the official inscription, "of the prizes from Athens." The back depicts the event for which the vase was a prize, in this case the four-horse-chariot race, one of the most prestigious events in the games.
Leading vase-painters decorated these prize amphorae, which were commissioned in large quantities by the state, and their work can often be differentiated by the motif they used to decorate the shield of Athena. For example, the winged horse Pegasos seen here seems to have been typical for the Kleophrades Painter.
Though the oil within was the real prize, the vessels that contained it could be highly valued, as lasting symbols of prowess and excellence. This example preserves ancient repair holes at one of the handles.
Ancient Egypt, probably New Kingdom or later, 1570 t 1070 BC
faience
Legion of Honor
Lincoln Park, San Francisco
gift of Michael H de Young
20181202_135701
The Gathering of Eland is a magnificent expanse of rock in the Game Pass site, about 3m x 3m, covered with a grouping of about 30 eland antelopes and some hunters and other “humanimals”.
This scene is thought to represent a battle between the Navajo and the Spanish that occurred in 1705 according to Larry Baker, director of Salmon Ruins Museum
This mask falls within the "more typical" Piro style. Oval or U-shaped mask in orange with red, green and white highlights. This is the mask above the two figures in 050 of this set.
Bronze horse in alert attitude. Very detailed geometric designs on the body. Dark green patina, front left leg up depicting the horse is in motion. Very attractive. 200 AD (5" x 4")
Drusus, Son of Tiberius. (Died AD 23). Copper as (11.17 gm). Rome, 22-23 AD. DRVSVS CAESAR TI AVG F DIVI AVG N, head bare left / PONTIF TRIBVN POTEST ITER around large SC. BMCRE 99. CBN 78. RIC 45. Cohen 2.
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.
Located 60 kilometers northwest of Cataviña is the petroglyph site at San Fernando Velicata. The petroglyphs are located on two granite outcrops on both sides of a narrow arroyo. A mission was established here in 1768 by the Jesuits when the Valley was then inhabited by an estimated 1500 Guiricata Indians. Petroglyph depictions of Spanish crosses are attributed to the mission period.
Many petroglyphs at this site were destroyed by the missionaries who quarried the granite cliffs for material to construct a viaduct for irrigating their fields. Most of the remaining petroglyphs are abstract curvilinear and geometric designs; representational human images account for 15% of the petroglyphs and animals only 5%; there are four red painted pictographs remaining along with some red stains on the rock that may have been pictographs at one time. Earl Jones (1978) recorded 96 elements in 74 petroglyphs at San Fernando Velicata.
La cultura de Tell Halaf se desarrolló en la zona comprendida entre los montes Zagros hasta el Mar Mediterráneo (actual Siria), desde finales del VII milenio A.C. hasta aproximadamente el 5.400 A.C. Esta escultura es un famoso ídolo expuesto en el Museo de Pérgamo, de Berlín
Terracotta freestanding statue of Diana of Ephesus, Goddess of the Amazons. A worship that focused on the Goddess as Queen of Heaven. In Roman times she was called Diana; yet at Ephesus, she was worshipped under the names Mother of Animals or Many-Breasted Artemis. Her temple built by the Amazons was one of the wonders of the world. Her hands and arms missing, she stands on a base. 100-300 AD (4” x 1 ¼”)
Greek, 550BC
Scenes of combat decorate this Athenian black-figure neck-amphora. On the front of the vase, the Greek hero Theseus battles the Minotaur. This monster, with a bull's head and a human body, lived in a labyrinth on the island of Crete and devoured human sacrifices sent as tribute from Athens. The hero has just stabbed the beast with his sword, and blood streams from the wound. A youth and a girl - representatives of the fourteen youths and maidens saved from sacrifice by Theseus's victory over the monster - stand at each side watching.
The heroic combat on the front is complemented by a scene of mortal warriors on the back of the vase. Two hoplites, or heavily armed soldiers, face off with spears raised, between onlookers, a man and a woman. The woman holds a wreath for the victor. Running beneath the warriors is a mock inscription, the letters scarcely legible.
Donor: Arakan King Surya Kula (520 R.E) (222 BC) In Sitetway (Sittwe) Rakhine State, Burma
Left palm rests on its back and the eight pointed star rests on the palm. At the centre of the star there exits a wheel that symbolizes the Dhamma Sakkra. There are uncountable minute images on its head and across the body.