2
10
37
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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
Art of Ancient Greece and Rome
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
Cast no.31
Abstract
A summary of the resource.
Head of an imperial Roman woman. <br />From the Towneley collection. <br />Marble. <br />Late first to early 2nd century CE. <br />London, British Museum. <br />H 14 in. <br />Metropolitan Catalogue: Cast no. 983. <br />Cast Location: Robinson B359 hallway<br /><br />The identification is pure conjecture, but a few portraits identified as Matidia bear some resemblance to this one, as do profile portraits of the deified Matidia on coins. One of the difficulties in identifying female portraits is that upper-class women wanted their images to resemble that of the current empress. But it also resembles portraits of her predecessors and of her daughter Sabina. The nose, ears, neck, and parts of the headdress are restored in the marble. Matidia (d. 119) was the niece of the emperor Trajan (r. 98-117 CE): she accompanied him on his campaigns in Dacia; and she was with him at his death. Her daughter Sabina married Hadrian (r. 117-138 CE), and Hadrian delivered Matidia's funeral oration and had his mother-in-law deified. The Egyptian city of Phyle was renamed after her, and the Basilica Matidiae was dedicated in her honor on the Campus Martius in Rome. Images of imperial family members served as an essential means of propaganda, and recognition of imperial likenesses was the visual key to continuity within each dynasty. Perhaps the most important element to consider in attempting to identify a female Roman portrait is the hairstyle. Complicated hairstyles communicated wealth and status: attendants; time; paid hairdressers or slaves; and money. This head is just over lifesize, a little flesh beneath the chin to show her maturity, and eyes punctuated with incised pupils and carved irises. Her classically oval face and heavy eyelids suggest that the head was produced during the reign of Hadrian, a great Hellenophile. Spiral curls frame the woman's face, and behind them a tiara of hair divides the style like a headband. The hair is roughly sectioned parallel to the head towards the nape of the neck, where there is a large coil of thin braids on the original, a feature that has broken off from the copy. Behind each ear, two soft tendrils trail down her neck. Roman women typically wore their hair long and "up." If elite Roman women desired wigs or hair extensions for buns/coils and braids, these were available. Hairstyles as complicated as Matidia's three-part up-do communicated wealth and status, requiring time, attendants, and money, to all of which Matidia had access. Spiral curls like these would have been achieved by the application of heat, perhaps held in place by pins, enhanced in sculpture by the boring drill. The mid-section of the hair - in three rows of square sections rolled forwards into thick pin-curls - serves as a diadem or tiara made from hair. The hair twists down the back of the head in what might be described as finger waves, stopping midway at a flattened area where a hairpiece would have been anchored by some type of round cinch, like a modern ponytail holder from which looser curls would have fallen onto the neck.<br />~Lucy R. Miller<br /><br /><br /><br />
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
<strong>Bibliography<br /><br /></strong>See: Author, ten years of practical experience as licensed hairdresser in Virginia; Elizabeth Bartman, "Hair and the Artifice of Female Adornment," American Journal of Archaeology 105 (2001), 1-25; Klaus Fittschen and Paul Zanker, Katalog der römischen Porträts in den Capitolinischen Museen und den anderen kommunalen Sammlungen der Stadt Rom (Mainz, 1983), vol. 1 supplement 57, vol. 2 supplement, 16 a-d; Diana E.E. Kleiner and Fred S. Kleiner, review of Karin Polaschek, Porträttypen einer claudischen Kaiserin, American Journal of Archaeology 78 (1974), 444; P. A. Roche, "The Public Image of Trajan's Family," Classical Philology, 97 (2002), 55, 60; A. H. Smith, Catalog of Greek Sculpture in the Department of Greek and Roman Antiquities, British Museum, vol. III (London, 1904), 158, no. 1898; Max Wegner, Hadrian: Plotina, Marciana, Matidia, Sabina (Berlin, 1956), 80. Figure. Figure. No. 31 before cleaning.
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Dublin Core
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Title
A name given to the resource
Art of Ancient Greece and Rome
Dublin Core
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Title
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Cast no.30
Abstract
A summary of the resource.
Portrait-head of Marcellus(?) <br />(42 - 23 BCE). <br />Marble. <br />1st century BCE to 1st century CE. <br />Location unknown. <br />H 14 1/2 in. <br />Not in Metropolitan cast catalogue. <br />Cast Location: Robinson B359 hallway<br /><br />The plaster head is broken from a bust, which may represent Marcellus, son of Octavia, the sister of Augustus. Marcellus had been meant to succeed Augustus, and had been married to Julia, the daughter of Augustus, but he died suddenly at the age of nineteen. His features in this portrait are unmistakably those of a member of the Augustan family. His hair is short and neatly coiffed, with a row of waves across a low forehead. His narrow face with high cheekbones closely resembles that of Augustus himself.<br /><br /><br />
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<strong>Bibliography<br /><br /></strong>See John Pollini, personal communication, May 2013. Figure.
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Dublin Core
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Title
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Art of Ancient Greece and Rome
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Cast no.29
Abstract
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Relief found at Ravenna near the Mausoleum of Galla Placidia.<br /> Marble. <br />Mid-first-century CE, perhaps Claudian (41-54 CE). <br />Ravenna Museum. <br />H 48 in., W 60 in. <br />Not in Metropolitan cast catalogue. <br />Cast Location: Robinson B 2nd floor<br /><br />This marble frieze fragment was uncovered during the sixteenth century at Ravenna near the Mausoleum of Galla Placidia. The relief, which may come from an altar or monument-base, pays tribute to the Roman imperial family, at least two of whom are represented as gods. The individuals represented stand in a row facing forwards, and all of them are barefoot, a sure sign in Roman art of their being above our own level of existence. It is generally agreed that the figure at the far right is Augustus, the first emperor of Rome (r. 27 BCE - 14 CE), perhaps represented as Mars, god of war. He wears a wreath of oak leaves, and holds a staff and a short sword. He rests his left foot on a globe decorated with signs of the zodiac. To the left of Augustus stands his wife Livia dressed as Venus, goddess of love and mistress of Mars. A Cupid sits on her shoulder, and she wears a diadem. The identities of the other figures are uncertain, but they may be potential heirs of Augustus. If so, the central figure may be Germanicus, the brother of Claudius, turning towards his father, Drusus the Elder. The seated figure at the far left may be Drusus’ wife Antonia in the guise of Pietas, the goddess of duty. The lotus-and-palmette decoration on the bottom of the frieze matches that on Ravenna’s Porta Aurea, which was built during the reign of Claudius (Ad 41-54).<br /><br /><br /><br />
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<strong>Bibliography<br /><br /></strong>See Elizabeth Bartman, Portraits of Livia (Cambridge ,UK, 1999); Richard Brilliant, Roman Art from the Republic to Constantine (London, 1974); Diana E. E. Kleiner, Roman Sculpture (New Haven, 1992); C. Brian Rose, Dynastic Commemoration and Imperial Portraiture in the Julio-Claudian Period (Cambridge, 1997); Inez Scott Ryberg, Rites of the State Religion in Roman Art (Rome, 1955); D. E. Strong, Roman Imperial Sculpture (London, 1961). Figure.
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Dublin Core
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Title
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Art of Ancient Greece and Rome
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Title
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Cast no.28
Abstract
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Frieze block from the Temple of Venus Genetrix, Rome. <br />Carrara(?) marble. <br />113 CE. <br />Lateran Museum, Rome. <br />H 39 1/2 in., W 99 in. <br />Metropolitan Catalogue: Cast no. 1300. <br />Long-term loan. <br />Cast Location: Concert Hall mezzanine <br /><br />The marble Temple of Venus Genetrix stood on a high podium at one end of the Forum of Julius Caesar. The temple had eight Corinthian columns across the front, and half-columns along the sides. Inside the temple were statues of Venus, Julius Caesar, and Cleopatra, as well as collections of paintings and of gems. Venus Genetrix was the Roman goddess of motherhood and fertility, and she was considered to be the ancestress of the Roman people. Julius Caesar claimed direct descent from Venus Genetrix and Aeneas. Thus the temple really honored Venus Genetrix and Julius Caesar. This temple and the Forum of Julius Caesar were dedicated in 46 BCE. Damaged by fire around 80 CE, the temple was rebuilt by Trajan in 113 CE, to judge from the dedication. This section of the frieze, with scrolls and acanthus leaves carved in high relief, and a few other remains are all that survive: the temple itself is in ruin.<br />~Lindsay Simmons<br /><br /><br />
Bibliographic Citation
A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.
<strong>Bibliography<br /><br /></strong>See Grove Art Online, "Forum Julium," 10 Dec. 2004. http://mutex.gmu.edu:2180/shared/views/article.html?from=search&session_search_id=150258 047&hitnum=3&section=art.073229.5.2.1 Figure. Figure. Detail of no. 28 by Andrew Zimmerman.
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Dublin Core
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Title
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Art of Ancient Greece and Rome
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Title
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Cast no.27
Abstract
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Relief fragment with acanthus from the Ara Pacis (Altar of Peace).<br />Rome. <br />Carrara marble. <br />13-9 BCE. <br />Rome, Ara Pacis. <br />H 31 1/2 in., W 26 in. <br />Metropolitan Catalogue: Cast no. 1313. <br />Cast Location: Concert Hall Lobby<br /><br />Construction of the Ara Pacis Augustae was approved by the Roman Senate to honor the peace and prosperity enjoyed during the Pax Romana (Roman peace) of the Emperor Augustus. The abundance of his reign is represented on the lower panels of the altar's enclosure walls by reliefs of acanthus leaves, tendrils, birds, small animals, lizards, and insects. The upper panels contain figural scenes relating to peace, plenty, good government, and the legendary history of the Roman people. The Ara Pacis was originally erected alongside the Via Flaminia in the Campus Martius (Field of Mars). During the 1930s, Mussolini’s archaeologists excavated and restored the altar, moving it to its present location within a protective building near the Tiber River. A new building for the altar and its enclosure designed by Richard Meier opened in 2006. The workshop that produced this plaster during the 1890s affixed an oval label on the right side of the cast that reads: “M. GHERARDI, Formatore. Grande Assortimento di Modello Per disegno. ROMA 87 via sestina 87.”<br />~Jennifer Seamster<br /><br /><br />
Bibliographic Citation
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<strong>Bibliography<br /><br /></strong>See David Castriota, The Ara Pacis Augustae and the Imagery of Abundance in Later Greek and Early Roman Imperial Art (Princeton, 1995); Diane Conlin, The Artists of the Ara Pacis: The Process of Hellenization in Roman Relief Sculpture (Chapel Hill, 1997); Erika Simon, Ara Pacis Augustae (Greenwich, CT, n.d.). Figure. Figure. Label found on the back of no. 27.
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Dublin Core
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Title
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Art of Ancient Greece and Rome
Dublin Core
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Title
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Cast no.26
Abstract
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One of two archaizing reliefs from Greece – part of the "Guilford Puteal." <br />Pentelic marble. <br />1st century BCE. <br />London British Museum. <br />Metropolitan Catalogue: Cast no. 998 (both). <br />Cast Location: Robinson B359 hallway<br /><br />These two reliefs formed part of the decoration of a circular altar produced during the reign of Augustus (31 BCE - 14 CE), one of several such altars commissioned to commemorate his military victory over Marc Antony and Cleopatra VII of Egypt at the Battle of Actium in 31 BCE. The reliefs were acquired in Corinth during the nineteenth century by a gentleman named Notarà. He used the reliefs as a puteal or wellhead, which he installed in his garden. There it was regularly seen by foreign visitors, including the Englishman Edward Dodwell in 1805. He commissioned an Italian named Simone Pomardi to sketch the puteal. Then a cast was made of it and sent to Athens, where another drawing was produced in 1811 by Baron von Stackelberg. Owing to the growing popularity of the "Corinth Puteal," Notarà took it to Zante (Zakynthos), an island noted for art dealing, where he sold it to Frederick North, the fifth Earl of Guilford, who took it to England. There the Corinth Puteal came to be called the Guilford Puteal. After North died in 1827, the puteal came into the possession of Thomas Wentworth Beaumont, who kept it at his home, Brenton Hall, near Leeds in northern England. After his death in 1848, the puteal disappeared. Beaumont’s house was sold and later demolished, and it was thought for many years that the Guilford Puteal had been destroyed. But at some point it and another ancient altar were sold to the West Riding County Council, which later established the Leeds College of Education, and the two altars were placed in a garden on campus, where they were rediscovered in 1992 by Susan Walker, who was then a curator at the British Museum. The Guilford Puteal was acquired in 2002 by the British Museum for approximately £300,000 ($544,032.38). Its identification and date were secured by the recent discovery of another altar just like it at Nikopolis, close to Actium, where Augustus (then known as Octavian) had defeated Marc Antony and Cleopatra in 31 BCE. Around the altar ten mythological figures are carved in low relief, as if in two converging processions. Apollo leads the first procession. He plays his lyre and is followed closely by his sister Artemis, bow in hand and stag at her side, and then by their mother Leto. Then comes Hermes escorting three women with bowed heads, perhaps nymphs or the Graces. The other procession is led by Athena, who wears an elaborate breastplate and carries a helmet and a weapon. Behind her, Herakles leads another woman, probably Hera or Aphrodite.
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Dublin Core
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Title
A name given to the resource
Art of Ancient Greece and Rome
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Title
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Cast no.25
Abstract
A summary of the resource.
One of two archaizing reliefs from Greece – part of the "Guilford Puteal." <br />Pentelic marble. <br />1st century BCE. <br />London British Museum. <br />Metropolitan Catalogue: Cast no. 998 (both). <br />Relief of Hermes <br />H 18 ¾ in., W 12 in. <br />Cast Location: Robinson B359 hallway<br /><br />Messenger to the gods, Hermes, or Mercury, ensured the safety of travelers and favored merchants as well as thieves. In this relief, Hermes is portrayed as a heavily muscled, nude male, standing in profile. He wears winged sandals as well as a shawl around his waist, but he does not carry a caduceus.These two reliefs formed part of the decoration of a circular altar produced during the reign of Augustus (31 BCE - 14 CE), one of several such altars commissioned to commemorate his military victory over Marc Antony and Cleopatra VII of Egypt at the Battle of Actium in 31 BCE. The reliefs were acquired in Corinth during the nineteenth century by a gentleman named Notarà. He used the reliefs as a puteal or wellhead, which he installed in his garden. There it was regularly seen by foreign visitors, including the Englishman Edward Dodwell in 1805. He commissioned an Italian named Simone Pomardi to sketch the puteal. Then a cast was made of it and sent to Athens, where another drawing was produced in 1811 by Baron von Stackelberg. Owing to the growing popularity of the "Corinth Puteal," Notarà took it to Zante (Zakynthos), an island noted for art dealing, where he sold it to Frederick North, the fifth Earl of Guilford, who took it to England. There the Corinth Puteal came to be called the Guilford Puteal. After North died in 1827, the puteal came into the possession of Thomas Wentworth Beaumont, who kept it at his home, Brenton Hall, near Leeds in northern England. After his death in 1848, the puteal disappeared. Beaumont’s house was sold and later demolished, and it was thought for many years that the Guilford Puteal had been destroyed. But at some point it and another ancient altar were sold to the West Riding County Council, which later established the Leeds College of Education, and the two altars were placed in a garden on campus, where they were rediscovered in 1992 by Susan Walker, who was then a curator at the British Museum. The Guilford Puteal was acquired in 2002 by the British Museum for approximately £300,000 ($544,032.38). Its identification and date were secured by the recent discovery of another altar just like it at Nikopolis, close to Actium, where Augustus (then known as Octavian) had defeated Marc Antony and Cleopatra in 31 BCE. Around the altar ten mythological figures are carved in low relief, as if in two converging processions. Apollo leads the first procession. He plays his lyre and is followed closely by his sister Artemis, bow in hand and stag at her side, and then by their mother Leto. Then comes Hermes escorting three women with bowed heads, perhaps nymphs or the Graces. The other procession is led by Athena, who wears an elaborate breastplate and carries a helmet and a weapon. Behind her, Herakles leads another woman, probably Hera or Aphrodite.<br /><br /><br />
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Dublin Core
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Title
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Art of Ancient Greece and Rome
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Title
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Cast no.24
Abstract
A summary of the resource.
Hellenistic head of an old woman. <br />Marble. <br />Probably first century CE.<br /> Dresden, Albertinum, no. ZV 475. <br />H with base 12 in. <br />Not in Metropolitan cast catalogue. <br />Long-term loan. <br />Cast Location: Robinson B359 hallway<br /><br />This weathered head represents an old woman with her mouth open in laughter, revealing bad teeth. Over her head she wears a kerchief and an ivy wreath, identifying her as one of the drunken followers of Dionysos. Images of old, drunken, derelict, and generally unattractive individuals belong to a genre developed during the Hellenistic period that retained its appeal during Roman times. The figure to which this head once belonged was probably installed as a garden sculpture.<br /><br /><br />
Bibliographic Citation
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<strong>Bibliography<br /><br /></strong>See Rune Frederiksen and R.R.R. Smith, The Cast Gallery of the Ashmolean Museum: Catalogue of Plaster Casts of Greek and Roman Sculpture (Oxford, 2011), 192; R. R. R. Smith, Hellenistic Sculpture (London, 1991), 138 and fig. 176; Guy Dickins, Hellenistic Art (Oxford, 1920), p. 29, no. 22. Figure. 24.
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Art of Ancient Greece and Rome
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Cast no.23
Abstract
A summary of the resource.
Barberini Faun. <br />From Rome, found in the moat of the Castel Sant' Angelo. <br />First noted in 1628. <br />Marble. <br />3rd century BCE or later. <br />Munich, Glyptothek. <br />H 84 in. <br />2-piece <br />Metropolitan Catalogue: Cast no. 830. <br />Long-term loan. <br />Cast Location: Breezeway between Mason and College Halls<br /><br />Fauns or satyrs, humans with tails who lived in the wilds, were followers of Dionysos/Bacchus. They were known in Classical times for wild drinking and for uncontrolled carousing. This drunken faun has dropped his pan-pipes behind the rock on which he lies sleeping, his limbs splayed out on a panther-skin with gaping jaws. The faun’s brow is knitted and his mouth is slightly open, suggesting that his sleep is not very comfortable. The marble faun was dug up in Rome in the 1620s, during the fortification of the Castel Sant’Angelo (built originally as a Mausoleum for the Emperor Hadrian, and decorated with statues). Pope Urban VIII’s family, the Barberini, owned the statue. During the 17th and 18th centuries, the Barberini Faun became one of the most famous antique statues in Rome. Perhaps the fact that it was poorly preserved made it even more tantalizing for artists and connoisseurs. A number of different artists adjusted the posture, and restored and re-restored its missing parts - a portion of the right leg, the left leg, the left arm, the fingers of the right hand, and the base. The fig-leaf was added during the 1600s. During the French occupation of Italy, the Barberini family were forced to sell this statue. Despite strenuous resistance to its export, the statue was sold to Ludwig I of Bavaria in 1814. It arrived in Munich in 1820, and a special room was built for it in the Glyptothek (Sculpture-Gallery).<br /><br /><br />
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<strong>Bibliography<br /><br /></strong>See Francis Haskell and Nicholas Penny, Taste and the Antique (New Haven, 1981), 202-205. Figure.
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Dublin Core
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Title
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Art of Ancient Greece and Rome
Dublin Core
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Title
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Cast no.22
Abstract
A summary of the resource.
Relief of dancer. <br />From Athens, the Theater of Dionysos, 1862. <br />Pentelic marble. <br />First century BCE. <br />Athens, National Archaeological Museum no. 259. <br />H 44 in., W 25 in. <br />Metropolitan Catalogue: Cast no. 881. <br />Long-term loan. <br />Cast Location: SUB I top floor. Additional copies of the cast can be found outside Robinson B, Harris Theatre, and in the Performing Arts Bldg.<br /><br />This is thought to be one of three dancers carved in relief on marble slabs that were probably set up to form a triangular base for a three-legged bronze tripod-stand holding a bronze cauldron. The style is known as neo-Attic. The dancer wears a chiton and himation, and probably represents a nymph or one of the Horai (chorus). During the 800-year lifespan of the Theater of Dionysos, thousands of tripod-monuments were erected to honor the winners of Athenian dramatic contests. Concrete casts taken from this plaster cast can be seen in the Performing Arts Building, outside Harris Theater, and outside the Prince William Campus. The casts were made by sculptor Nick Xhiku. He poured a carefully mixed solution of cement, sand, marble chips (for color), and water into a rubber mold that he had made of the original cast, pouring slowly and inserting steel reinforcement rods. Unlike the plaster cast, the concrete casts can be installed outdoors. For the full process, see no. 52 below. ~Ellen McV. Layman
Bibliographic Citation
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<strong>Bibliography<br /><br /></strong>See S. Karouzou, National Archaeological Museum Collection of Sculpture: A Catalogue (Athens, 1968, rpt 1974), 191-192; Katerina Romiopoulou, `Ellenoromaika Glypta tou Ethnikou Archaiologikou Mouseiou (Athens, 1997), 23-24, no. 11. Fig. 22. Fig. Cast no. 22 before cleaning. Fig. Latex mold of no. 22. Fig. Installation of new cast of no. 22 outside Harris Theater. Fig. New cast of no. 22.