- Tampa Museum of Art / Cornelia Corbett Center
120 W. Gasparilla Plaza / Tampa, FL 33602 - +813-274-8130
Branko van Oppen
Tampa Museum of Art, Curatorial Department, Faculty Member
- My research focuses on the religious identification of Ptolemaic queens with various Greek and Egyptian goddesses, su... moreMy research focuses on the religious identification of Ptolemaic queens with various Greek and Egyptian goddesses, such as Aphrodite, Demeter, Hathor and Isis. This research synthesizes interpretations of various schools of thought and fields of study: not only Classics, History and Egyptology, but also Anthropology, Sociology, Political Sciences, Gender Studies and Feminism, Art History and the History of Religion (Myths and Rituals). For evidence I have drawn frequently from poems by Theocritus, Callimachus and Posidippus. I have further contextualized their works using what little ancient historiography remains as well as inscriptions and papyri, in addition to reliefs, sculpture, vases, gems, coins and seals, among others. My research led me to an extensive exploration of the intersection of different cultures, namely Graeco-Macedonian, Egyptian, and Near-Eastern influences in the worship of the queens. This work fits within the wider framework of the Ptolemaic ruler-cult, royal ideology and propaganda. My research illuminates the often ignored or underestimated importance of the queens’ roles, functions and duties at court – a position unmatched in Pharaonic Egypt or elsewhere in other Hellenistic kingdoms. In short, I aim to illustrate the extent of female participation in the politics and society of Hellenistic Egypt.edit
The Allard Pierson Museum, Amsterdam, and the Royal Ontario Museum, Toronto, together hold a series of nearly 800 seal impression evidently from the same find in or near the Horus Temple at Edfu (Apollinopolis Magna), dating to the second... more
The Allard Pierson Museum, Amsterdam, and the Royal Ontario Museum, Toronto, together hold a series of nearly 800 seal impression evidently from the same find in or near the Horus Temple at Edfu (Apollinopolis Magna), dating to the second half of the Ptolemaic period. For the first time since their respective acquisitions in 1905/6, this catalogue raisonnée will present the full description of all surviving sealings from Ptolemaic Edfu with relevant commentary and parallels. The ongoing work in progress begun in 2015, with the financial support of the Mondriaan Foundation and the J. Paul Getty Research Institute.
Research Interests:
Ancient seal impressions once employed to seal a variety of objects, particularly different kinds of documents, offer a wealth of information not only about iconography, but also about the dissemination of ideas and beliefs. Their use... more
Ancient seal impressions once employed to seal a variety of objects, particularly different kinds of documents, offer a wealth of information not only about iconography, but also about the dissemination of ideas and beliefs. Their use provides evidence about the continuation, transformation, and mutual influences effecting local traditions, and casts light on administrative and bureaucratic practices. This volume brings together conference papers by twelve specialists focusing on the Hellenistic period (ca. 325-25 BCE), a period still deserving more scholarly attention. The hoards discussed by the various authors include those from Delos, Doliche, Edfu, Kedesh, Pistiros, Seleucia-on-the-Tigris, Selinunte and Uruk. The volume’s themes range from the persistence of Pharaonic imagery on Ptolemaic sealings and Greek influence on Sicilian seals to the survival of Mesopotamian traditions on Parthian clay tablets and the use of Hellenistic iconography on Bactrian finger rings. Ptolemaic and Seleucid seal impressions especially offer clues for identifying royal portraits in other media. The papers contextualize the subject within related fields of glyptics and numismatics, and in so doing elucidate day-to-day realities of social, public and private archival practices beyond political and elite levels of life. In all this publication – the first of its kind in twenty-five years – illuminates aspects of Hellenistic history that have long remained abstruse, ignored or inaccessible without the aid of seal impressions.
Research Interests: Ancient History, Archaeology, Egyptology, Archival Studies, Iconography, and 14 moreHistory of Religion, Hellenistic History, Ideology, Numismatics, Portraiture, Sigillography, Ptolemaic Egyptian History, Administration, Seleucid Empire, Glyptics, Antiquity, Ancient Seals and Sealings, Royal ideology in the ancient Near East, and Sphragistics
Ever since the Neolithic domestication, animals have been part of everyday human life, imagination, and religion. In antiquity, many human pursuits, from plowing the field to fighting on the battlefield, from consumption of food to... more
Ever since the Neolithic domestication, animals have been part of everyday human life, imagination, and religion. In antiquity, many human pursuits, from plowing the field to fighting on the battlefield, from consumption of food to sacrificing to the gods, were shaped by, and relied upon, a symbiotic or interdependent relationship with animals. Animals were hunted or tamed, kept for entertainment or even worshipped. Material culture provides important evidence as representations and illustrations, expressions and mediations of ancient ideas and attitudes about, as well as experiences and interactions with the animal world which surrounded them. Iconographic representations may, for instance, reflect social status as much as religious practices. Such imagery can offer visual clues for the dissemination of animal husbandry as well as for beliefs in mythic creatures.
The theme of this Special Issue, "Animals in Ancient Material Cultures", broadly includes the Mediterranean world and the Near East, from ca. 10,000 ʙᴄᴇ to 500 ᴄᴇ (although exceptions in period or region may be considered). Approaching this subject from a broad chronological and geographical perspective allows the contributors to focus on a specific region, period, animal, and/or creature. Papers may draw on (zoo-)archaeological, physical, visual, and/or cultural material to examine the dispersal and exchange, appropriation, and acculturation of practices and beliefs. This Special Issue aims to bring together specialists from different fields of expertise, including but not limited to art history, ancient history, classics, classical archaeology, and zooarchaeology. Proposed subjects comprise topics such as pastoralism, human–animal relations, iconography, and cultic practices.
The theme of this Special Issue, "Animals in Ancient Material Cultures", broadly includes the Mediterranean world and the Near East, from ca. 10,000 ʙᴄᴇ to 500 ᴄᴇ (although exceptions in period or region may be considered). Approaching this subject from a broad chronological and geographical perspective allows the contributors to focus on a specific region, period, animal, and/or creature. Papers may draw on (zoo-)archaeological, physical, visual, and/or cultural material to examine the dispersal and exchange, appropriation, and acculturation of practices and beliefs. This Special Issue aims to bring together specialists from different fields of expertise, including but not limited to art history, ancient history, classics, classical archaeology, and zooarchaeology. Proposed subjects comprise topics such as pastoralism, human–animal relations, iconography, and cultic practices.
Research Interests:
The first essay in this collection, “Magas, Apame, and Berenice II,” includes a substantial exploration of early-Hellenistic chronology. For, the question about Berenice’s birth date will lead to an examination of early-third century... more
The first essay in this collection, “Magas, Apame, and Berenice II,” includes a substantial exploration of early-Hellenistic chronology. For, the question about Berenice’s birth date will lead to an examination of early-third century history, including the date of her parents’ marriage and of Magas’ death, the First Syrian War, Magas’ attempted invasion of Egypt, the Chremonidean War, and the episode of Demetrius the Fair in Cyrene, among other events. This exploration offers significantly different interpretations of the absolute and/or relative chronology of these events than the common scholarly reading of Pausanias (our main source for much of this period). These conclusions are important not only for our understanding of factual, historical data, but also for issues such as genealogy and marital practices. Additionally, I will discuss the influence young Berenice exerted in Cyrenaica before marrying the Egyptian king.
That marriage is the main subject of the second essay. After the death of her father Magas and her brief marriage to Demetrius the Fair, Berenice II namely wed Ptolemy III, and together they were proclaimed to be children of the Theoi Adelphoi (“Sibling Gods”) Ptolemy II and Arsinoe II. Exploring the course of these events is again important not only for a better understanding of early-Hellenistic chronology, genealogy and marital practices, but also for Berenice’s status and position in Cyrene and Egypt. In fact, documents such as Callimachus’ Coma Berenice and the Canopus Decree reveal (thus far unnoticed) ideological ramifications of her marriage to the Ptolemaic king. The events leading up to her marriage indeed reveal that Berenice was an assertive woman, capable both in military and political affairs from a young age.
A brief interlude presents iconographic material pertaining to the life and times of Berenice II in art and atrifacts. The evidence ranges from Cyrenean and Alexandrian coinage, portraits in sculpture and mosaics, relief scenes and an inscription, as well as Ptolemaic vases and signet rings. Additionally, two modern works of art will pass the review to illustrate Berenice’s long afterlife.
The last essay is entitled “Astronomy and Ideology in the Coma Berenices.” There have been few attempts at analysing the possible astronomical implications of Callimachus’ Coma Berenices, apart from calculating the constellation’s heliacal rising and proposing an Isiac or Hathoric symbolism. This essay places the poem as well as the catasterism in astronomical, historical, ideological and religious contexts. Connecting the Coma Berenices with Near-Eastern astrology (e.g., the Dendera zodiac) and religious symbolism will also shed more light on some poetic themes and patterns of queenship. In this chapter, I will pay particular attention to the themes of eroticism, female agency, dynastic legitimization and royal deification.
That marriage is the main subject of the second essay. After the death of her father Magas and her brief marriage to Demetrius the Fair, Berenice II namely wed Ptolemy III, and together they were proclaimed to be children of the Theoi Adelphoi (“Sibling Gods”) Ptolemy II and Arsinoe II. Exploring the course of these events is again important not only for a better understanding of early-Hellenistic chronology, genealogy and marital practices, but also for Berenice’s status and position in Cyrene and Egypt. In fact, documents such as Callimachus’ Coma Berenice and the Canopus Decree reveal (thus far unnoticed) ideological ramifications of her marriage to the Ptolemaic king. The events leading up to her marriage indeed reveal that Berenice was an assertive woman, capable both in military and political affairs from a young age.
A brief interlude presents iconographic material pertaining to the life and times of Berenice II in art and atrifacts. The evidence ranges from Cyrenean and Alexandrian coinage, portraits in sculpture and mosaics, relief scenes and an inscription, as well as Ptolemaic vases and signet rings. Additionally, two modern works of art will pass the review to illustrate Berenice’s long afterlife.
The last essay is entitled “Astronomy and Ideology in the Coma Berenices.” There have been few attempts at analysing the possible astronomical implications of Callimachus’ Coma Berenices, apart from calculating the constellation’s heliacal rising and proposing an Isiac or Hathoric symbolism. This essay places the poem as well as the catasterism in astronomical, historical, ideological and religious contexts. Connecting the Coma Berenices with Near-Eastern astrology (e.g., the Dendera zodiac) and religious symbolism will also shed more light on some poetic themes and patterns of queenship. In this chapter, I will pay particular attention to the themes of eroticism, female agency, dynastic legitimization and royal deification.
Research Interests:
Allard Pierson Museum exhibit catalogue published in conjunction with the opening of the redesigned installation of the Roman gallery.
Research Interests:
Research Interests:
"This is a wonderful photo book about the beautiful architecture of The Hague City. It tells a story about the prominent buildings standing in the Dutch royal residence and the famous architects who have built them. The city has a rich... more
"This is a wonderful photo book about the beautiful architecture of The Hague City. It tells a story about the prominent buildings standing in the Dutch royal residence and the famous architects who have built them. The city has a rich history of important and interesting architecture, including the Parliament Building, the Hague Municipal Museum, the City Tram Tunnel and its own Flat Iron Building.
The Hague is always changing and evolving. Construction cranes seem to have become permanent residents in the city’s skyline. While The Hague has it immediately recognizable character, the different boroughs and neighborhoods each have with their own identity, too. This book therefore highlights the city architecture in its specific context.
Approximately 250 noteworthy buildings are presented with over 500 magnificent photos by professional photographers such as Rob ’t Hart, Rob Hoekstra, Luuk Kramer, Jannes Linders, Inge van Mill, Jeroen Musch, Peter de Ruig, Michael Toner and Dirk Vroemen. Besides historical monuments and modern architecture, fifteen leading architects or offices are discussed, including Aldo van Eyck, Wim Quist, Rem Koolhaas, Herman Hertzberger, Jo Coenen, Atelier PRO and Archipelontwerpers.
A must-read for everyone who loves the city, from natives to expats, visitors and foreign contact, friends and family. "
The Hague is always changing and evolving. Construction cranes seem to have become permanent residents in the city’s skyline. While The Hague has it immediately recognizable character, the different boroughs and neighborhoods each have with their own identity, too. This book therefore highlights the city architecture in its specific context.
Approximately 250 noteworthy buildings are presented with over 500 magnificent photos by professional photographers such as Rob ’t Hart, Rob Hoekstra, Luuk Kramer, Jannes Linders, Inge van Mill, Jeroen Musch, Peter de Ruig, Michael Toner and Dirk Vroemen. Besides historical monuments and modern architecture, fifteen leading architects or offices are discussed, including Aldo van Eyck, Wim Quist, Rem Koolhaas, Herman Hertzberger, Jo Coenen, Atelier PRO and Archipelontwerpers.
A must-read for everyone who loves the city, from natives to expats, visitors and foreign contact, friends and family. "
Research Interests:
Willem van Haarlem’s Egyptological interests and mine could scarcely be any further apart: his predynastic, mine Graeco-Roman. Fortunately, we have easily found enough mutual interests beyond Egyptology to engage in many friendly... more
Willem van Haarlem’s Egyptological interests and mine could scarcely be any further apart: his predynastic, mine Graeco-Roman. Fortunately, we have easily found enough mutual interests beyond Egyptology to engage in many friendly conversations over the years. Perhaps our most heated discussion concerned the subject of the present contribution. As it represents a Ptolemaic king, it would best fit in the new Hellenistic gallery of the Allard Pierson, I argued. The counter-argument was that as a near-complete statue of an Egyptian pharaoh, it belongs in the new Egyptian rooms, then still in the planning stage. I hope Willem will appreciate this re-evaluation of the statue. I am certain that he will be delighted with this beautiful Festschrift in his honour, and wish him many more years of happiness.
Research Interests:
The Edfu Connection The site of Edfu, south of Luxor and Karnak, was sacred to the falcon god Horus. Its temple, one of the best preserved sanctuaries of ancient Egypt, was built between 237 and 57 BC. The hoard of originally about 800... more
The Edfu Connection
The site of Edfu, south of Luxor and Karnak, was sacred to the falcon god Horus. Its temple, one of the best preserved sanctuaries of ancient Egypt, was built between 237 and 57 BC. The hoard of originally about 800 sealings may have been deposited after a conflagration burnt the documents to which they were attached.
They form the largest set of preserved clay seal impressions from Hellenistic Egypt. And yet, both halves have thus far not been studied and compared systematically. The Toronto half was published in two preliminary articles over a century ago; some of the Amsterdam examples have been published sporadically since the mid-1990s.
Two examples of Hellenistic clay seal impressions from Edfu: on the left the famous last queen of Egypt Cleopatra VII; and the right Julius Caesar, the Roman conqueror and dictator, who maintained a relationship with Cleopatra. (APM inv.nos. 8177-056 and 134.)
Over half of the sealings depict male or female heads or busts, the majority of which represent royal portraits from the second half of the Hellenistic period (that is, ca. 185-25 BC). This fact alone makes the Edfu sealings very important, as there are few securely identifiable portraits of the kings or queens of the Ptolemaic dynasty of the time.
Recent research has now established that all kings from Ptolemy VI through Ptolemy XII, and several of the queens from Cleopatra I through Cleopatra VII, can be recognized among the hoard. Additionally, seal impressions can be attributed to Alexander the Great, Ptolemy I and even Julius Caesar. This research project, The Edfu Connection, was made possible through generous support of the Mondriaan Fund and the Getty Research Institute.
The site of Edfu, south of Luxor and Karnak, was sacred to the falcon god Horus. Its temple, one of the best preserved sanctuaries of ancient Egypt, was built between 237 and 57 BC. The hoard of originally about 800 sealings may have been deposited after a conflagration burnt the documents to which they were attached.
They form the largest set of preserved clay seal impressions from Hellenistic Egypt. And yet, both halves have thus far not been studied and compared systematically. The Toronto half was published in two preliminary articles over a century ago; some of the Amsterdam examples have been published sporadically since the mid-1990s.
Two examples of Hellenistic clay seal impressions from Edfu: on the left the famous last queen of Egypt Cleopatra VII; and the right Julius Caesar, the Roman conqueror and dictator, who maintained a relationship with Cleopatra. (APM inv.nos. 8177-056 and 134.)
Over half of the sealings depict male or female heads or busts, the majority of which represent royal portraits from the second half of the Hellenistic period (that is, ca. 185-25 BC). This fact alone makes the Edfu sealings very important, as there are few securely identifiable portraits of the kings or queens of the Ptolemaic dynasty of the time.
Recent research has now established that all kings from Ptolemy VI through Ptolemy XII, and several of the queens from Cleopatra I through Cleopatra VII, can be recognized among the hoard. Additionally, seal impressions can be attributed to Alexander the Great, Ptolemy I and even Julius Caesar. This research project, The Edfu Connection, was made possible through generous support of the Mondriaan Fund and the Getty Research Institute.
Research Interests:
The Allard Pierson Museum recently acquired an important cedar wood sculpture that represents an Egyptian female temple attendant in the role of the goddess Hathor dating to the 18th Dynasty (ca. 1500-1450 BCE). By Egyptian conventions,... more
The Allard Pierson Museum recently acquired an important cedar wood sculpture that represents an Egyptian female temple attendant in the role of the goddess Hathor dating to the 18th Dynasty (ca. 1500-1450 BCE). By Egyptian conventions, her gesture is remarkably unusual and appears to make an attempt to cover her breasts and genital area. The attempt is, however, unsuccessful, as the gesture rather emphasizes her female sensuality. Only a single comparable statuette, held at the Metropolitan Museum of Art (New York), is known to exist, though that figurine is much smaller and later. The present article discusses at length the bases on which the wooden sculpture’s authenticity can be established.
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Amastris (ca. 340/39-285), a niece of Darius III, was first married to Craterus, then to Dionysius of Heraclea, and finally to Lysimachus. She was the mother of four known children; was supposedly divorced when Lysimachus married Arsinoe;... more
Amastris (ca. 340/39-285), a niece of Darius III, was first married to Craterus, then to Dionysius of Heraclea, and finally to Lysimachus. She was the mother of four known children; was supposedly divorced when Lysimachus married Arsinoe; Amastris founded an eponymous city in Paphlagonia; she was the first queen to issue coins in her name; and was allegedly murdered by her sons for interfering in their affairs. This paper argues that Amastris, who rose to power and prominence in the early third century, was in a true sense the first Hellenistic queen.
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The popular yet demonic guardian of ancient Egypt, Bes, combines dwarfish and leonine features, and embodies opposing traits such as a fierce and gentle demeanor, a hideous and comical appearance, serious and humorous roles, an... more
The popular yet demonic guardian of ancient Egypt, Bes, combines dwarfish and leonine features, and embodies opposing traits such as a fierce and gentle demeanor, a hideous and comical appearance, serious and humorous roles, an animalistic and numinous nature. Drawing connections with similarly stunted figures, great and small cats, sacred cows, baboons, demonic monsters, universal gods and infant deities, this article will focus on the animalistic associations of the Bes figure to illustrate that this leonine dwarf encompassed a wider religious significance than apotropaic and regenerative functions alone. Bes was thought to come from afar but was always close; the leonine dwarf guarded the sun god Ra along the diurnal solar circuit; the figure protected pregnant women and newborn children; it was a dancer and musician; the figure belonged to the company of magical monsters of hybrid appearance as averter of evil and sword-wielding fighter. Exploring the human and animal, demonic and numinous aspects of this leonine dwarf will not only further our understanding of its nature and function, but also its significance and popularity.
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Elephants were first deployed in warfare by Indian and Persian armies. The Greco-Macedonian troops first encountered these fearsome creatures in battle during the campaign of Alexander the Great. Subsequently, the Successors and later... more
Elephants were first deployed in warfare by Indian and Persian armies. The Greco-Macedonian troops first encountered these fearsome creatures in battle during the campaign of Alexander the Great. Subsequently, the Successors and later Hellenistic rulers similarly used elephants in battle. From this time, the animal began to appear in Greco-Roman art. Tracing the appearance of the elephant in Hellenistic history and art, I suggest that the elephant not only continued to be associated with its Asian and African origins and came to symbolize military triumph over exotic foes, it retained religious and mythic proportions as a fearsome, fabulous monster connected with the martichora and unicorn, griffon and sphinx, dragon and hippocampus. In particular, I reexamined the posthumous portrait of Alexander the Great in which he wears an elephant scalp as a headdress, similar to Heracles' lion scalp. This deified portraiture not only depicts Alexander as descendant of Heracles and Dionysus, both sons of Zeus, but also-through connections with Ammon and Indra-as the legitimate ruler of the three continents of the known world, Europe, Africa, and Asia.
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A mummy portrait of a young woman with a golden wreath is part of the archaeological collection of the Allard Pierson Museum in Amsterdam. This portrait is covered by four authors, each from their separate perspective, namely provenance... more
A mummy portrait of a young woman with a golden wreath is part of the archaeological collection of the Allard Pierson Museum in Amsterdam. This portrait is covered by four authors, each from their separate perspective, namely provenance research, technical examination, museum presentation, and diversity education. Provenance research is significant not only for tracing the second-life biography of the panel, but also for assessing its bona fide authenticity. Non-invasive examinations can help identify possible underlayers, pigments and modern restorations. Museological aspects concern the contextualization of the portrait, not only as a funerary artefact, but also as an expression of physical appearance. Educational programs can be implemented to illustrate to museum visitors the relevance of ancient artefacts for modern society.
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A hoard of some 800 clay seal impressions dating to the second half of the Hellenistic period (allegedly) derives from the priestly archive of the Horus temple at Edfu in Upper Egypt. The sealings are now roughly divided equally over the... more
A hoard of some 800 clay seal impressions dating to the second half of the Hellenistic period (allegedly) derives from the priestly archive of the Horus temple at Edfu in Upper Egypt. The sealings are now roughly divided equally over the collections of the Royal Ontario Museum in Toronto, and the Allard Pierson Museum in Amsterdam. This co-authored paper examines the female heads in the series in an attempt to distinguish between goddesses and (deified) queens, and to attribute the royal portraits to individual Ptolemaic queens.
Research Interests:
A hoard of some 800 clay seal impressions dating to the second half of the Hellenistic period (allegedly) derives from the priestly archive of the Horus temple at Edfu in Upper Egypt. The sealings are now roughly divided equally over the... more
A hoard of some 800 clay seal impressions dating to the second half of the Hellenistic period (allegedly) derives from the priestly archive of the Horus temple at Edfu in Upper Egypt. The sealings are now roughly divided equally over the collections of the Royal Ontario Museum in Toronto, and the Allard Pierson Museum in Amsterdam. This co-authored paper discusses cultural historical aspects that can be gleaned from the corpus. The majority of the impressions portray Ptolemaic kings and queens from the second half of the dynasty (ca. 185-30 BCE). The Greco-Egyptian iconography illustrates the dissemination of multicultural themes far beyond the Alexandrian elite into southern Egypt.
Research Interests:
This paper discusses the potential of several digital applications at the Allard Pierson Museum, the archaeological museum of the University of Amsterdam. The Allard Pierson has launched a number of initiatives of the past years combining... more
This paper discusses the potential of several digital applications at the Allard Pierson Museum, the archaeological museum of the University of Amsterdam. The Allard Pierson has launched a number of initiatives of the past years combining academic research and digital technologies for the innovative reinstallation of the collection presentation. For the visitor, perhaps the most interesting application concerns virtual 3D models that offer all-round visibility without physical contact with the archaeological artifacts. Examples include the virtual recreation of the Etruscan Tomb of Cerveteri Regolini-Galassi, the Ara Pacis of the Roman Forum, a bronze figurine of Asclepius, and a clay sealing with the portrait of Julius Caesar. Digital modelling is effective for the conservation and preservation of fragile objects, the restoration and recreation of lost, destroyed or ruined monuments, scientific examination and verification of research, as well as public accessibility and understanding of national and global cultural heritage. Collaborating partners with the APM include: Etruscanning 3D, Moobels, SigNet and V-MusT; technologies used include: Admotum, Nisar, RFID and Virtex12.
Research Interests:
The paper provides an overview of the SigNet Project with special attention to the implementation of a digital agenda fitting the dual purpose of promoting scientific research in the specialized disciplines of sigillography and... more
The paper provides an overview of the SigNet Project with special attention to the implementation of a digital agenda fitting the dual purpose of promoting scientific research in the specialized disciplines of sigillography and numismatics and of bridging their gap with the broader field of cultural heritage. Focus is in particular on the role of interdisciplinary, open linked databases of big data and on the promotion of citizen science. SigNet is a project proposal for the study of Hellenistic seal impressions and coinage (ca. 330-30 BCE), currently under evaluation within the framework of a " Digging into Data " call for projects. 1 The project's aim is to develop digital tools for advancing research of the material as well as to make the material widely available for further study. Image recognition software, such as developed for numismatic analysis, will be used not only for the benefit of comparing hoards of sealings, but also for cross-referencing existing coin databases. Online resources, such as an umbrella website, blogs and open-access papers will facilitate the dissemination of the results of the research. This collaborative project comprising of American, Dutch and French teams will be the first time that coins and sealings will be studied in conjunction rather than 1 http://diggingintodata.org.
Research Interests: Digital Humanities, Digital Museum, Data Mining, Hellenistic History, Creative Commons, and 16 moreNumismatics, Archives, Museums and Exhibition Design, History of Archives, Greek Archaeology, Digital Archives, Ancient numismatics (Archaeology), Ancient Greek Numismatics, Public Engagement, Engraved gems, Ancient Seals and Sealings, Citizen Science, 3d Modeling, Big Data, Big Data Analytics, and Machine Learning Big Data
This article’s subject offers an opportunity for studying the dynastic relations and marital practices of Ptolemy I as well as Antipater, in addition to related issues concerning early-Hellenistic chronology and genealogy. In this... more
This article’s subject offers an opportunity for studying the dynastic relations and marital practices of Ptolemy I as well as Antipater, in addition to related issues concerning early-Hellenistic chronology and genealogy. In this context, the date of the conference at Triparadisus deserves particular attention. Furthermore, I will reconsider the common scholarly assumption that Eurydice was repudiated so that Ptolemy could marry Berenice and favor her son Ptolemy II over Eurydice’s eldest son Ceraunus. This study additionally intends to reveal some of the fallacies underlying modern scholarship – especially the misguided believe that Ptolemy I practiced serial monogamy. In an addendum I should submit a few (minor) corrections to previous articles on the related issues of Ptolemy’s marriage to Berenice and the birth of their daughter Arsinoe.
Research Interests:
The subject of this article is Eirene, the daughter of Ptolemy I and Thais, and her marriage to Eunostus, the local king of Soli in Cyprus. The purpose of this study is first of all to place this marriage in its historical context and... more
The subject of this article is Eirene, the daughter of Ptolemy I and Thais, and her marriage to Eunostus, the local king of Soli in Cyprus. The purpose of this study is first of all to place this marriage in its historical context and re-evaluate the various suggested dates for the event, which range from 322/1 to 295/4 BCE. The importance of this examination is not only to reveal the mod-ern assumptions on which these suggested dates are based, but also to advance our understanding of the (early) Ptolemaic diplomatic, political and dynastic relations with Cyprus. Additionally, the present subject allows for an onomas-tic investigation. For, remarkably, the name Eirene recurs at regular intervals around the Ptolemaic court, notably in connection with the name Androma-chus. Instead of opting for mere coincidence, I would rather propose a possible collateral branch of the Lagid house descending from Eirene and Eunostus.
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The Persian and Median noblewomen whom Alexander married to his Greek and Macedonian companions at Susa were all repudiated shortly after his death – so common opinion would have it. The present note aims to dispel this notion and to... more
The Persian and Median noblewomen whom Alexander married to his Greek and Macedonian companions at Susa were all repudiated shortly after his death – so common opinion would have it. The present note aims to dispel this notion and to argue instead that Alexander’s Successors had no reason to abandon their Asiatic wives – even if they did eventually marry other women. If the Susan brides failed to make their presence in recorded history, that would be because the extant sources found nothing worth mentioning in their subsequent careers. Underlying modern assumptions, moreover, we will find misleading believes such as that the Macedonians were serially monogamous and that they resented their foreign wives. This article may thus serve as a warning about the intricacies of (early-) Hellenistic marital practices.
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Arsinoe I is one of the least well-known Ptolemaic queens. This article aims to re-evaluate the available evidence that has been attributed to her and review in so far as possible her basic biographical information. I will examine issues... more
Arsinoe I is one of the least well-known Ptolemaic queens. This article aims to re-evaluate the available evidence that has been attributed to her and review in so far as possible her basic biographical information. I will examine issues such as the dates of her birth, her marriage to Ptolemy II, and her removal from court. Furthermore, this study includes an appraisal of the role of Arsinoe II in her namesake’s banishment as well as the accusations leveled against Arsinoe I. Additionally, I will have occasion to discuss inscriptions from Cyprus and Coptus. I will also note the theory that she left Egypt and moved to Cyrene. Finally, I will provide a brief sketch of the subsequent careers of her children. In all these notes are intended as a contribution to the study of early-Hellenistic chronology, genealogy, dynastic relations and marital practices.
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In a frustratingly confusing passage, Pausanias (1.7.1) mentions a brother of Ptolemy II, called Argaeus, who was executed for plotting against the king’s life. Pausanias continues with a statement about the execution of another brother,... more
In a frustratingly confusing passage, Pausanias (1.7.1) mentions a brother of Ptolemy II, called Argaeus, who was executed for plotting against the king’s life. Pausanias continues with a statement about the execution of another brother, who although unnamed is explicitly called the son of Eurydice. But if Eurydice was not Argaeus’ mother, whose son was he? This note argues that his mother can neither have been Artacama nor Berenice. Argaeus is not mentioned among Thais’ children with Ptolemy I. So who were his parents? Why was he placed in charge of the relocation of the remains of Alexander the Great from Memphis to Alexandria? And can this Argaeus be identified with the commander sent against the Cypriot king Nicocles of Paphus? One overlooked possibility that solves all these issues is that Argaeus was Alexander’s illegitimate son with Thais adopted by Ptolemy.
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This article examines the legendary birth-tale of Ptolemy I Soter. Rather than Lagus, several late authorities claim that Ptolemy’s father was in fact Philip II, who had married his pregnant mistress Arsinoe off to Lagus. In addition to... more
This article examines the legendary birth-tale of Ptolemy I Soter. Rather than Lagus, several late authorities claim that Ptolemy’s father was in fact Philip II, who had married his pregnant mistress Arsinoe off to Lagus. In addition to examining the details of this birth legend, and analyzing the ancient evidence and modern scholarly opinions on Ptolemy’s paternity, I also discuss similar birth tales about Alexander the Great and his Successors. In the last part, I explore the possible significance of Ptolemy’s birth tale in the context of the so-called “Birth of the Hero” paradigm, in order to illustrate its importance as an aetiological myth.
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This article examines the modern assumption that Arsinoe II was born ca. 316 – and argues that her birth cannot be dated more precisely than between 320/19 and 312/1. More importantly, I intend to reveal the dubious rationale underlying... more
This article examines the modern assumption that Arsinoe II was born ca. 316 – and argues that her birth cannot be dated more precisely than between 320/19 and 312/1. More importantly, I intend to reveal the dubious rationale underlying scholarly assumptions about (royal) marriageability age and marital relations. Historians appear reluctant to accept, on the one hand, that Arsinoe may have been as young as twelve when she married Lysimachus, and, on the other hand, that Ptolemy I may well have married Berenice I around the same time as Eurydice. I will further explore the implications of post- or ante-dating Arsinoe’s birth in relation to her position at the courts of Lysimachus and Ptolemy II. This note may thus serve as a general warning about the intricacies of the marital behavior of the (early-) Hellenistic dynasties.
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This article examines the uncertainty about the date of Ptolemy I’s marriage to Berenice I. While modern estimates range from 317 to 285, I suggest that a date between 320 and 315 is more probable. More important than establishing the... more
This article examines the uncertainty about the date of Ptolemy I’s marriage to Berenice I. While modern estimates range from 317 to 285, I suggest that a date between 320 and 315 is more probable. More important than establishing the date of this marriage is revealing the underlying scholarly assumptions, which have often been of dubious nature. Particularly obstructive has been the belief in Ptolemy’s serial monogamy – especially in light of explicit evidence that he was polygamous. Even historians who acknowledge Ptolemy’s polygamy appear entrenched in the side-effects of this fallacious notion when they persist that Berenice remained Ptolemy’s mistress until the birth of the future Ptolemy II. This note may then serve as a general warning about the intricacies of the marital behavior of the (early-) Hellenistic dynasties.
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The date of Arsinoe II Philadelphus’ death, though long held secure, has become a matter of scholarly dispute two decades ago. For many figures of ancient history, not in the least Hellenistic queens, the date of death is often unknown –... more
The date of Arsinoe II Philadelphus’ death, though long held secure, has become a matter of scholarly dispute two decades ago. For many figures of ancient history, not in the least Hellenistic queens, the date of death is often unknown – and is in many cases not particularly important. In the case of Arsinoe II, I contend, it does matter whether she passed away in 270 or 268 BCE, and circumstantial evidence supports the latter date. The article focuses especially on passages from the Mendes and Pithom stelae. Additionally, I examine the date of the foundation of Arsinoe’s official cult. For, it has commonly been assumed that this cult was posthumous – i.e., that it was established to commemorate Arsinoe’s earthly passing – but I aim to prove that she was officially worshipped individually (viz., independent of her brother and husband) within her lifetime. The last part explores the possibility that, shortly before her death, Arsinoe convinced her brother and husband Ptolemy II to appoint her son, also called Ptolemy, as joint ruler, and to join the Chremonidean alliance against Antigonus II Gonatas in an effort to support her son’s claim to the Macedonian throne.
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Panel at the 11th Celtic Conference in Classics.
University of St Andrews, 11-14th July 2018.
Organized by Eran Almagor, Timothy Howe & B. Antela-Bernárdez
University of St Andrews, 11-14th July 2018.
Organized by Eran Almagor, Timothy Howe & B. Antela-Bernárdez
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The 11th Celtic Conference in Classics, University of St. Andrews, 11th-14th 2018
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Program & Abstracts of the international conference at the Allard Pierson Museum, 23-24 January 2018.
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Papers are invited for an international conference on Hellenistic sealings & archives to be held at the Allard Pierson Museum in Amsterdam on 23 – 24 January 2018 in collaboration with the Netherlands Institute for the Near East (NINO).... more
Papers are invited for an international conference on Hellenistic sealings & archives to be held at the Allard Pierson Museum in Amsterdam on 23 – 24 January 2018 in collaboration with the Netherlands Institute for the Near East (NINO). The organizers welcome papers on subjects related to sealings and archives around the Hellenistic Mediterranean and Near East (ca. 4th-1st cent. BCE), which may include seal stamps and rings, gems and coins, papyri and literary studies as well as modern (digital) technologies related to research and presentation. Abstracts of max. 500 words for 45-minute papers may be submitted to Branko van Oppen at B.F.vanOppen@uva.nl by 3 November 2017. Decisions will be communicated within one month of the closing date.
Please circulate widely.
Please circulate widely.
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The Allard Pierson Museum is pleased to announce a two-day international conference on the theme of Animals in Ancient Material Cultures, broadly in the Mediterranean world, form ca 2500 BCE - 500 CE. Registration is now open and... more
The Allard Pierson Museum is pleased to announce a two-day international conference on the theme of Animals in Ancient Material Cultures, broadly in the Mediterranean world, form ca 2500 BCE - 500 CE. Registration is now open and scholars, students and interested members of the public are cordially invited to attend the conference to be held on October 15-16, 2015.
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This work-in-progress (2012-present) is part of an ongoing preliminary study of Hellenistic marital practices and dynastic relations. The draft examines chronological, genealogical, diplomatic and ideological aspects of the various... more
This work-in-progress (2012-present) is part of an ongoing preliminary study of Hellenistic marital practices and dynastic relations. The draft examines chronological, genealogical, diplomatic and ideological aspects of the various marriages of Lysimachus. While Plutarch informs that Lysimachus was polygamous, most scholars before Ogden have stubbornly maintained that Lysimachus was actually serially monogamous. Examining the marital relations with his four or five possible wives, and those of his eight or nine known children, will not only confirm Plutarch’s statement, but will add to our understanding of the status and position of (early) Hellenistic royal women. Lysimachus did not have to repudiate any of his wives, as is commonly claimed regarding Amastris when the king married Arsinoe, nor should we assume that his previous wife, Nicaea, had died by that time. Lysimachus’ familial affairs, to be sure, conformed to the practice of establishing military and political alliances through personal and diplomatic ties, which for instance strengthened his bonds with Antipater and Ptolemy, while rejecting such ties with Antigonus and Seleucus. He furthermore (re-) named cities in honor of his wives and one of his daughters; thus promoting the image of dynastic unity and augmenting his glory. Before the downfall of his son and heir Agathocles, what can be gleaned about the wives of Lysimachus is that they were assertive and active participants in his royal power.
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Amastris, daughter of Oxyathres (brother of Darius III), was first married by Alexander at Susa to Craterus, then to Dionysius of Heraclea, and finally to Lysimachus. She founded an eponymous city in Paphlagonia and was the first queen to... more
Amastris, daughter of Oxyathres (brother of Darius III), was first married by Alexander at Susa to Craterus, then to Dionysius of Heraclea, and finally to Lysimachus. She founded an eponymous city in Paphlagonia and was the first queen to issue coins with her own portrait. Amastris was the mother of three children, was supposedly divorced so that Lysimachus could marry Arsinoe, and was allegedly murdered by her sons for interfering in their affairs. Lysimachus still avenged her death by killing her sons.
Amastris rose to power and prominence in the early third century and was in a sense the first true Hellenistic queen. Other royal women received the title basilissa before her, perhaps – notably Phila and Apama. No other Hellenistic queen founded cities or issued coins before her, and none were of Persian descent. Yet modern scholarship has mostly ignored Amastris and left the few known details of her life as contradictory as the ancient sources present them.
This paper intends to review the surviving evidence with the aim of reappraising the life of Amastris. Rather than present her as a pawn in dynastic marital games, I will focus on the extent of her agency in her remarkable career, her invaluable roles for the men she married, and reevaluate the circumstances of her death. Lysimachus, whose royal aim certainly was to enlarge his kingdom as far as possible, more generally employed his queens as representatives of his power. Amastris, moreover, seems to have promoted her Persian heritage with pride.
Amastris rose to power and prominence in the early third century and was in a sense the first true Hellenistic queen. Other royal women received the title basilissa before her, perhaps – notably Phila and Apama. No other Hellenistic queen founded cities or issued coins before her, and none were of Persian descent. Yet modern scholarship has mostly ignored Amastris and left the few known details of her life as contradictory as the ancient sources present them.
This paper intends to review the surviving evidence with the aim of reappraising the life of Amastris. Rather than present her as a pawn in dynastic marital games, I will focus on the extent of her agency in her remarkable career, her invaluable roles for the men she married, and reevaluate the circumstances of her death. Lysimachus, whose royal aim certainly was to enlarge his kingdom as far as possible, more generally employed his queens as representatives of his power. Amastris, moreover, seems to have promoted her Persian heritage with pride.
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Presentation of a preliminary study of the female heads in the hoard of Ptolemaic seal impressions from Edfu (Apollonopolis Magna in Upper Egypt).
Research Interests: Egyptology, Hellenistic History, Sigillography, Ancient numismatics (Archaeology), Ptolemaic Egyptian History, and 10 morePtolemaic (Egyptology), Queenship (Egyptology), Ptolemaic Period, Ancient Egyptian Queenship, Ancient Egyptian Iconography, Ptolemaic Egypt, Edfu, Ptolemaic queens, Cleopatra VII, and Queenship
Preliminary presentation of the female heads in the hoard of Ptolemaic seal impressions from Edfu (Apollonopolis Magna in Upper Egypt).
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The SigNet project constitutes an innovative transatlantic consortium for researching and disseminating Hellenistic sealings and coins (from the Eastern Mediterranean, dating to ca. 350-30 BCE). The project’s aim is to develop digital... more
The SigNet project constitutes an innovative transatlantic consortium for researching and disseminating Hellenistic sealings and coins (from the Eastern Mediterranean, dating to ca. 350-30 BCE). The project’s aim is to develop digital tools for quantitative and qualitative analysis, as well as for enhancing museum experiences. The SigNet portal will host a combined image repository of over 100,000 sealings and coins with metadata information. Computer-aided statistical analyses are significantly faster and more efficient than human study; while image-recognition software will allow for effective stylistic and technical queries. SigNet will adhere to standardized data-models and licensing policies, based on the example of Europeana, as well as common vocabularies, semantics and ontologies. The conversion and aggregation operations will be made using CSV, XML and RDF/XML; metadata information will follow the Nakala Data Model, and conform to the NUDS schema developed by the American Numismatic Society.
The multifunctional SigNet web-platform will allow users with different backgrounds and interests to browse the aggregated repositories of images and metadata. Users can store and share the results of their, collect statistical data and add or enrich metadata, select favorite items, and/or build a virtual exhibition with their own narratives; registered users will be able the future to upload collections of related material. Crowdsourcing and Wikimedia initiatives are envisioned for community outreach programs, knowledge dissemination and citizen engagement. Museum visitor experiences can be enhanced with the use of digital applications. Miniature artifacts such as sealings and coins can come to life, for instance, through high-resolution interactive 3D imagery offering zooming and rotating options. Digital hotspots in the museum can offer additional background information to the physical exhibition, provide access to the online portal, showcase items not currently on display, and make the entire repository of 100,000+ objects available to the viewer. The SigNet project thus aims to let small objects tell big stories.
The multifunctional SigNet web-platform will allow users with different backgrounds and interests to browse the aggregated repositories of images and metadata. Users can store and share the results of their, collect statistical data and add or enrich metadata, select favorite items, and/or build a virtual exhibition with their own narratives; registered users will be able the future to upload collections of related material. Crowdsourcing and Wikimedia initiatives are envisioned for community outreach programs, knowledge dissemination and citizen engagement. Museum visitor experiences can be enhanced with the use of digital applications. Miniature artifacts such as sealings and coins can come to life, for instance, through high-resolution interactive 3D imagery offering zooming and rotating options. Digital hotspots in the museum can offer additional background information to the physical exhibition, provide access to the online portal, showcase items not currently on display, and make the entire repository of 100,000+ objects available to the viewer. The SigNet project thus aims to let small objects tell big stories.
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Over 30 years since Women in Hellenistic Egypt, in which Sarah Pomeroy bemoaned the absence of a general sociological study of queenship (1984: 11), the subject remains an underappreciated field of study. Pomeroy has touched on the... more
Over 30 years since Women in Hellenistic Egypt, in which Sarah Pomeroy bemoaned the absence of a general sociological study of queenship (1984: 11), the subject remains an underappreciated field of study. Pomeroy has touched on the position of Ptolemaic queens, particularly Arsinoe II, Berenice II, in various publications (e.g, Pomeroy 1984: 13-40). Following up on van Oppen 2015, this paper will focus on the theme of lamentation in the context of Ptolemaic apotheosis to establish patterns in the roles of female members of the Ptolemaic royal house. Employing textual and artistic evidence, both Greek and Egyptian, this study will confirm Pomeroy’s assertion that Ptolemaic queens were particularly identified with goddesses such as Aphrodite and Isis, as well as Demeter and Hathor, due to their especially feminine nature. Contrary to Pomeroy’s opinion, however, I will argue that queenship in Ptolemaic Egypt was a very public office.
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Scholars have long debated the exact status and nature, origin and function of ancient Egyptian Bes. He is considered a hideous demon, a deformed dwarf, a pygmy from far away, a fierce animal wielding his knife, a jolly dancing musician,... more
Scholars have long debated the exact status and nature, origin and function of ancient Egyptian Bes. He is considered a hideous demon, a deformed dwarf, a pygmy from far away, a fierce animal wielding his knife, a jolly dancing musician, a brave warrior fighting against the forces of evil, a guardian spirit of the household and family life within it, a New-Kingdom addition to the Egyptian pantheon, a protective deity of all of Egypt worshipped throughout the Nile Valley since pre-dynastic times, yet for whom no temples were built and no priests were installed. This friendly beast that charms while he repels, is he human or animal, demon or god?
Though this paper will not be able to address all categories equally, I will argue that Bes transcends definition by combining human and animal, demonic and divine traits – and because of this multivalence was highly suitable for popular religious beliefs. Apart from his own physical appearance, animals and deities will pass the review with whom Bes was closely associated: such as felines and primates, as well as Hathor and Ihy, Ptah and Sechmet, Bastet and Horus, Thouëris and Tithoës. An examination of animalistic aspects that Bes has in common with others will bring notable dualities to the fore which will help to illuminate this lovely ugly character.
Though this paper will not be able to address all categories equally, I will argue that Bes transcends definition by combining human and animal, demonic and divine traits – and because of this multivalence was highly suitable for popular religious beliefs. Apart from his own physical appearance, animals and deities will pass the review with whom Bes was closely associated: such as felines and primates, as well as Hathor and Ihy, Ptah and Sechmet, Bastet and Horus, Thouëris and Tithoës. An examination of animalistic aspects that Bes has in common with others will bring notable dualities to the fore which will help to illuminate this lovely ugly character.
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Elephants were initially employed in warfare by Indian and Persian armies. During the campaign of Alexander the Great the Graeco-Macedonian troops first encountered these fearsome creatures. Subsequently, the Successors and later... more
Elephants were initially employed in warfare by Indian and Persian armies. During the campaign of Alexander the Great the Graeco-Macedonian troops first encountered these fearsome creatures. Subsequently, the Successors and later Hellenistic rulers similarly used elephants in battle. From that time the animal began to appear in Graeco-Roman art. This paper will discuss several battles (e.g., Heraclea, the “Elephant Victory,” and Raphia), among other evidence (e.g., the Grand Procession of Ptolemy II). The main focus, however, will be on visual material (e.g., the “Porus medallion,” the Alexander exuvia portraits, and works depicting Galatians fighting elephants and gryphons). The presentation will include several pieces from the Allard Pierson collection.
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A little examined aspect of the dynastic cult, though obviously an important feature of deification, is its funerary element. In my paper I will focus particularly on the rite of lamentation in the early-Ptolemaic cult as a means of... more
A little examined aspect of the dynastic cult, though obviously an important feature of deification, is its funerary element. In my paper I will focus particularly on the rite of lamentation in the early-Ptolemaic cult as a means of studying royal ideology and its dialogue with the various populations of Hellenistic Egypt. Grief and mourning were considered especially female duties – and I intend to show that evidence does indicate that it was an important role of Ptolemaic queens. Such evidence includes Alexandrian poetry (esp. Theoc. Adon., Encom.; Callim. Apoth.Arsin., Com.Beren.) and Egyptian inscriptions (Mendes stela, Canopus decree).
After a brief sketch of the historical and religious background, I will discuss several selected themes associated with ritual lamentation in early-Hellenistic Egypt. In brief, these themes include apotheotic ascension, wings of death, eroticism and luxury, as well as funerary rites of tearing / cutting hair, beating / baring breasts, and voicing grievances. The paper will address the religious identification of kings and queens with Greek and Egyptian deities, public /communal participation in the Ptolemaic cult, and the roles played by queens in this context. Though the scant evidence precludes broad generalizations, the paper will illuminate aspects of Ptolemaic ideology, representation and deification.
After a brief sketch of the historical and religious background, I will discuss several selected themes associated with ritual lamentation in early-Hellenistic Egypt. In brief, these themes include apotheotic ascension, wings of death, eroticism and luxury, as well as funerary rites of tearing / cutting hair, beating / baring breasts, and voicing grievances. The paper will address the religious identification of kings and queens with Greek and Egyptian deities, public /communal participation in the Ptolemaic cult, and the roles played by queens in this context. Though the scant evidence precludes broad generalizations, the paper will illuminate aspects of Ptolemaic ideology, representation and deification.
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Research Interests:
Egyptische kunst uit de Faraonische periode staat bekend om de harmonische composities. Standbeelden en reliëf scenes zijn gebalanceerd vormgegeven volgens duidelijke regels voor houding, proportie en schaal. Voor moderne ogen komen... more
Egyptische kunst uit de Faraonische periode staat bekend om de harmonische composities. Standbeelden en reliëf scenes zijn gebalanceerd vormgegeven volgens duidelijke regels voor houding, proportie en schaal. Voor moderne ogen komen oud-Egyptische kunstwerken eerder statisch over dan dynamisch. Zelfs de befaamde schilderingen van de Slag bij Qadesh (1274 v.Chr.) lijken stil te staan.
Met de komst van de Grieken in Egypte, vooral in de tijd van Alexander de Grote tot Cleopatra, kwam ook de Egyptische kunst in beweging. Dit geldt niet alleen voor kunstwerken in de Hellenistische stijl. Het beroemde bronzen beeldje van de danseres in New York (hiernaast) toont dat op schitterende wijze. Ook in ogenschijnlijk traditioneel Egyptische afbeeldingen doet de dynamiek echter zijn intrede. Reliëf scenes van de Slag bij Raphia (217 v.Chr.), bijvoorbeeld, verraden een Griekse invloed in de suggestie van beweging.
De spreker zal aan de hand van een aantal representatieve voorbeelden uit de grote en de kleine kunst zien hoe Griekse technieken voor het uitbeelden van illusionaire dynamiek de Egyptische kunst beïnvloedden. Omgekeerd geldt dat de Macedonische heersers van Egypte om zich te laten afbeelden ook graag aansluiting zochten bij eeuwenoude Faraonische tradities.
Met de komst van de Grieken in Egypte, vooral in de tijd van Alexander de Grote tot Cleopatra, kwam ook de Egyptische kunst in beweging. Dit geldt niet alleen voor kunstwerken in de Hellenistische stijl. Het beroemde bronzen beeldje van de danseres in New York (hiernaast) toont dat op schitterende wijze. Ook in ogenschijnlijk traditioneel Egyptische afbeeldingen doet de dynamiek echter zijn intrede. Reliëf scenes van de Slag bij Raphia (217 v.Chr.), bijvoorbeeld, verraden een Griekse invloed in de suggestie van beweging.
De spreker zal aan de hand van een aantal representatieve voorbeelden uit de grote en de kleine kunst zien hoe Griekse technieken voor het uitbeelden van illusionaire dynamiek de Egyptische kunst beïnvloedden. Omgekeerd geldt dat de Macedonische heersers van Egypte om zich te laten afbeelden ook graag aansluiting zochten bij eeuwenoude Faraonische tradities.
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Wat vertellen voorwerpen in de hoofdvitrines op de nieuwe afdeling van het Allard Pierson Museum over de veelzijdigheid van het Romeinse Rijk?
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Gastonderzoeker en -conservator Branko van Oppen. Hij werkte aan het Egyptische perspectief van de tentoonstelling 'Keys to Rome: Het Romeinse Rijk ontsloten'. Hij zal de bijzondere status van Egypte binnen het Romeinse Rijk bespreken.... more
Gastonderzoeker en -conservator Branko van Oppen. Hij werkte aan het Egyptische perspectief van de tentoonstelling 'Keys to Rome: Het Romeinse Rijk ontsloten'. Hij zal de bijzondere status van Egypte binnen het Romeinse Rijk bespreken. Ook binnen de collectie van het Allard Pierson Museum neemt Romeins Egypte een voorname positie in. Enkele sleutelobjecten illustreren niet alleen de militaire aanwezigheid tot ver in de woestijn, maar ook de wederzijdse
beïnvloeding van de verschillende segmenten van de bevolking.
beïnvloeding van de verschillende segmenten van de bevolking.
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In de laatste drie eeuwen v. Chr. regeerde een Macedonisch koningshuis over Egypte, waarvan alle koningen Ptolemeus waren genaamd – en de laatste koningin de beroemde Cleopatra was. Als heersers over het Nijldal introduceerden zij vanuit... more
In de laatste drie eeuwen v. Chr. regeerde een Macedonisch koningshuis over Egypte, waarvan alle koningen Ptolemeus waren genaamd – en de laatste koningin de beroemde Cleopatra was. Als heersers over het Nijldal introduceerden zij vanuit Alexandrië de Griekse cultuur terwijl zij tevens Faraonische cultuur in eren hielden. Aan de hand van enkele stukken uit de collectie worden de aspecten van traditie en vernieuwing geïllustreerd voor de portretten van koninginnen en prinsessen.
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Review of Time and Its Adversaries in the Seleucid Empire by Paul J. Kosmin (Cambridge, MA: Harvard University Press, 2018).
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Review of Images du pouvoir et pouvoir de l’image: Les “médaillons-portraits” miniatures des Lagides (Scritpa Antiqua 113), by Estelle Galbois (Bordeaux: Ausonius, 2018).
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Review of the conference papers on “Creation, Representation and Distortion of Hellenistic Queenship in the Seleukid Empire” edited by Altay Coşkun and Alex McAuley (Historia Einzelschriften 240; Stuttgart: Franz Steiner Verlag, 2016).
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This volume edited by Anton Powell collects nine of the contribution to the international panel on the importance of unfulfilled expectations specifically in Greek and Roman history and historiography, held at the University of Edinburgh... more
This volume edited by Anton Powell collects nine of the contribution to the international panel on the importance of unfulfilled expectations specifically in Greek and Roman history and historiography, held at the University of Edinburgh in 2010 as part of the Sixth Celtic Conference in Classics (The Classical Press of Wales: Swansea, 2013).
Research Interests: Ancient History, Latin Literature, Hindsight bias, Ancient Historiography, Cicero, and 17 morePolybius, Plutarch, Ancient Persia, Thucydides, Xenophon, Diodorus Siculus, Herodotus, Pausanias, Carthage (History), Ancient Rome, Pompey the Great, Ancient Greek Literature, Livy, Julius Caesar, Antony and Cleopatra, Ancient Athens, and Octavianus Augustus
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No less than eighteen authors from various fields of specialization and at different stages in their respective careers have contributed to these proceedings of the international colloquium organized by the Belgian School at Athens in... more
No less than eighteen authors from various fields of specialization and at different stages in their respective careers have contributed to these proceedings of the international colloquium organized by the Belgian School at Athens in 2007 on “Ruler Cult and Emperor Worship from the Classical period to Late Antiquity.” The volume is divided into four parts, plus a preface, an introduction and a summarizing conclusion, a list of contributors, abbreviations and helpful indices (22 pp.). Bibliographies are provided at the end of each separate essay. The four parts of unequal length concern the (late) Classical and Achaemenid, Hellenistic, Roman and Arsacid periods. It would do no justice to the exceptional value of individual contributions to review each chapter separately. Instead, I will focus on some of the important questions addressed in this volume, as well as those that, in my mind, still require further inquiry.
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This volume resulted from a conference held at the University of Edinburgh in 2006, entitled Creating a Hellenistic World, and brings together fourteen contributions divided over five parts, plus an introduction by the editors, a list of... more
This volume resulted from a conference held at the University of Edinburgh in 2006, entitled Creating a Hellenistic World, and brings together fourteen contributions divided over five parts, plus an introduction by the editors, a list of contributors, abbreviations, and a helpful (11-pp.) index. (Notes and bibliographies are provided separately at the end of each essay). It would take up too much space to do justice to each chapter individually. This review will therefore concentrate especially on those essays that stood out most for the present author.
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This title brings together the proceedings of the international symposium held at the University of La Coruña (Galicia, Spain) in 2010, on the Age of the Successors of Alexander the Great (323-281 BCE). Apart from a general editorial... more
This title brings together the proceedings of the international symposium held at the University of La Coruña (Galicia, Spain) in 2010, on the Age of the Successors of Alexander the Great (323-281 BCE). Apart from a general editorial introduction by Anson, the volume is prefaced by a few words of acknowledgement by Alonso Troncoso, and additionally includes a list of contributors plus a short index (7-pp.). Bibliographies and notes are provided separately at the end of each essay. The essays by eighteen contributors are divided into four unequal sections, viz. the sources and their use, the struggle for power, the role of the Iranians, and the propagation of ideology. The audience interested in this volume will mostly be students and scholars focusing on the (early) Hellenistic period. Depending on their specialization, some of these contributions may prove essential reading.
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The first modern biography of Berenice II Euergetis, the fifth title in the Women in Antiquity series edited by Ronnie Ancona and Sarah B. Pomeroy for Oxford University Press, has been eagerly awaited. Few scholars are as well versed in... more
The first modern biography of Berenice II Euergetis, the fifth title in the Women in Antiquity series edited by Ronnie Ancona and Sarah B. Pomeroy for Oxford University Press, has been eagerly awaited. Few scholars are as well versed in the Alexandrian poetry of the era as Dee Clayman – and she offers a suggestive reading of the works of Theocritus, Posidippus, Callimachus and Apollonius in light of the life of Berenice. Students of the Hellenistic period are warmly recommended reading this book, which, like Carney’s biography of Arsinoe II, will undoubtedly become the standard text for the coming generation. Scholars will want to supplement this reading, though, with Clayman’s previously published articles on the subject.
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From Adrian Goldsworthy, leading Roman military historian and bestselling author of such titles as The Roman Army at War (1996), The Punic Wars (2000), Caesar: Life of a Colossus (2006), and The Fall of the West (2009), also comes Antony... more
From Adrian Goldsworthy, leading Roman military historian and bestselling author of such titles as The Roman Army at War (1996), The Punic Wars (2000), Caesar: Life of a Colossus (2006), and The Fall of the West (2009), also comes Antony and Cleopatra (2010). Despite what the title might suggest, though, this is both more and less than a dual biography of the titulary subjects. While biographies of the last Ptolemaic queen continue to appear in rapid succession, biographies of the Roman triumvir have neither been unforthcoming – e.g., by Eleanor Huzar (1978), Alan Roberts (1988), and Patricia Southern (1998) – nor is a combined biography a new idea – e.g. W. W. Tarn & M. P. Charlesworth (1965), Southern (2007), and Diana Preston (2008). It seems doubtful, therefore, that Goldsworthy will have said the last word on the matter. Nonetheless, students and scholars interested in ancient Roman history of the last generation of the Republic, are certainly well advised reading this account.
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This title, part of the Women in Antiquity series edited by Ronnie Ancona and Sarah B. Pomeroy for Oxford University Press, is the first modern biography of Arsinoe II Philadelphus in any language, except for the less-than-influential one... more
This title, part of the Women in Antiquity series edited by Ronnie Ancona and Sarah B. Pomeroy for Oxford University Press, is the first modern biography of Arsinoe II Philadelphus in any language, except for the less-than-influential one by Longega (1968) in Italian. The author, Elizabeth Carney, is one of the foremost specialists on ancient Macedonian and early-Hellenistic royal women, particularly dynastic and marital aspects. One of the strongest points of this work is the author’s attempt to explain how contemporary royal polygamy may have shaped Arsinoe’s outlook on marriage. The book discusses Arsinoe’s father, Ptolemy I, and his various wives; Arsinoe’s first husband, Lysimachus of Thrace, and his wives; her failed marriage to her half-brother Ceraunus; her successful marriage to her full-brother Ptolemy II; her possible influence in the various aspects of life at the Alexandrian court; and Arsinoe’s afterlife. Specialist will be disappointed finding that Carney remains rather reticent taking a stand in the various scholarly debates surrounding the subject. The value of her work is unfortunately diminished by an apparent failure to grasp the elements of chronology. Like her biography of Olympias (2006), however, this title will doubtless remain the standard text for at least a generation of students and scholars interested in this thrice-married Queen of Macedon, Thrace and Egypt.
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"Cleopatra: A Life" (2010) by Pulitzer Prize-winning author Stacy Schiff is meant for a general audience. It is an easy, pleasant read, filled with rich detail and descriptions. She presents Cleopatra as an intelligent player in... more
"Cleopatra: A Life" (2010) by Pulitzer Prize-winning author Stacy Schiff is meant for a general audience. It is an easy, pleasant read, filled with rich detail and descriptions. She presents Cleopatra as an intelligent player in international politics, and makes it very clear that it was not for Cleopatra’s sexual allure that Julius Caesar and Mark Antony became intimately involved with her. The only trustworthy source on the matter makes it clear that Cleopatra was not the most beautiful woman of her age. I can only hope that this book will help dispel that myth. Egypt, moreover, presented the Roman generals with vast riches that they desperately needed for their military campaigns. Schiff does not dwell on the careers of Caesar, Antony or Octavian (the later emperor Augustus), as most historians do. Yet her brevity on the Roman side of the story might make it difficult for a general reader to grasp Cleopatra’s significance at this important juncture of Mediterranean history. Had Caesar not been assassinated or had Antony not been defeated by Octavian, Cleopatra would likely have played a major role in subsequent events. Whatever shape the Roman Empire would have taken eventually, with Egypt’s independence secured, the polarization of East and West (with which we still struggle today) would not have been as severe. Schiff has clearly done much research. While I would not suggest it as a textbook for college students, I would certainly recommend this book to anyone who would like to learn more about one of the most fascinating figures in world history.
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This reused pithos (which the soldiers no doubt used as a wine jug first) probably stood somewhere in the fort to make the soldiers' roster visible to all. Papyrus was too expensive for this purpose. The number of grammar and spelling... more
This reused pithos (which the soldiers no doubt used as a wine jug first) probably stood somewhere in the fort to make the soldiers' roster visible to all. Papyrus was too expensive for this purpose. The number of grammar and spelling errors in the text is striking. reading and writing were rare skills in Antiquity, but most soldiers must have been able to recognise their own name and duty.
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Judging from the patina, the helmet must have been found in a river bed in Germania Inferior; it must have had a representative purpose in military parades. It was doubtless made locally—which is confirmed by the iconography. It’s a... more
Judging from the patina, the helmet must have been found in a river bed in Germania Inferior; it must have had a representative purpose in military parades. It was doubtless made locally—which is confirmed by the iconography. It’s a military showpiece that joins eastern and local influence in a delightful way.
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The inscription of this basalt weight reads: '[made] by the authority of Quintus Iunius Rusticus, prefect of the City [i.e., Rome].' Rusticus was a senator and was promoted to city prefect of Rome in 162/3, an office he held until 167/8... more
The inscription of this basalt weight reads: '[made] by the authority of Quintus Iunius Rusticus, prefect of the City [i.e., Rome].' Rusticus was a senator and was promoted to city prefect of Rome in 162/3, an office he held until 167/8 AD. As a magistrate he was responsible for the trial of criminals and enemies of the state. In this capacity he was involved in the trial of the Christian Justin Martys in 165. Rusticus is further known as a Stoic philosopher, the tutor and friend of Emperor Marcus Aurelius. In the person of Rusticus, aspects of economy, law, politics, philosophy and religion came together.
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This figure gives us an impression of how amphoras were hauled from the local market to be stored for home use, after being transported by land and/or sea, by ship or camel. the sight of slaves carrying amphoras must have been common in... more
This figure gives us an impression of how amphoras were hauled from the local market to be stored for home use, after being transported by land and/or sea, by ship or camel. the sight of slaves carrying amphoras must have been common in Roman Egypt.
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Some concentric circles have been engraved at the bottom of the base, which also has a clumsily written inscription. It appears to read ‘ΔΙVΟΜΑIIKΙΙC’. It isn’t Greek, however, but a Roman majuscule cursive from the first century AD.... more
Some concentric circles have been engraved at the bottom of the base, which also has a clumsily written inscription. It appears to read ‘ΔΙVΟΜΑIIKΙΙC’. It isn’t Greek, however, but a Roman majuscule cursive from the first century AD. Three words have been abbreviated and written without spaces: DIVOMACCFEC, i.e. Divo Macc[ius or -arius] fec[it], ‘Maccius (or Maccarius; a silversmith) made this for a deity.’ Since the deity is not mentioned by name, it is likely that the cup was dedicated to a deified statesman, such as Julius Caesar or Augustus. That would be appropriate for such a precious cup.
On the grounds of the Latin inscription it is plausible that this silver skyphos was made in Italy, probably in Campania. Its early date and finding place indicate a military connection; the inscription could point to a gift to or from an army commander in the emperor’s circle. The finding place also proves that luxury goods were traded over long distances. It remains unclear if this cup was lost by accident, deposited as a sacrifice, or hidden as a treasure.
On the grounds of the Latin inscription it is plausible that this silver skyphos was made in Italy, probably in Campania. Its early date and finding place indicate a military connection; the inscription could point to a gift to or from an army commander in the emperor’s circle. The finding place also proves that luxury goods were traded over long distances. It remains unclear if this cup was lost by accident, deposited as a sacrifice, or hidden as a treasure.
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The relief speaks of the wish that Harpocrates enjoy his dinner and wine om his reclining couch in the afterlife -- an aspect that does not fit the traditional Egyptian idea of the afterlife. The skyphos in his hand and the amphora by his... more
The relief speaks of the wish that Harpocrates enjoy his dinner and wine om his reclining couch in the afterlife -- an aspect that does not fit the traditional Egyptian idea of the afterlife. The skyphos in his hand and the amphora by his couch indicate that especially this element, the wine, appealed to the bereaved in choosing the stela to pay their last respects. Thus the stela illustrates the degree to which Graeco-roman and Egyptian cultures were intertwined.
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The sieve was probably fished out of the river Waal and therefore hardly has any patina, but this also means that the original colour has been preserved well. Perhaps a soldier lost it or threw it away, but the good condition makes it... more
The sieve was probably fished out of the river Waal and therefore hardly has any patina, but this also means that the original colour has been preserved well. Perhaps a soldier lost it or threw it away, but the good condition makes it likelier that it was thrown into the river as a sacrifice.
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The goddess'asymmetric face and the general style of this bronze statuette reveals its Roman origins. Isis was not depicted wearing a knotted garment before the Graeco-Roman period; the standing composition with the lotus flower, likewise... more
The goddess'asymmetric face and the general style of this bronze statuette reveals its Roman origins. Isis was not depicted wearing a knotted garment before the Graeco-Roman period; the standing composition with the lotus flower, likewise emerged during that period. This image of Isis Regina, omnipotent ruler of the universe, thus combines traditional Egyptian elements with Hellenistic and Roman characteristics.
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Below the scene a Greek inscription has been somewhat clumsily written: 'Isisdorus, fifty years of age. Farewell! The deceased is depicted as a Hellenistic Greek whose beard and hairstyle follow Roman fashion. The population of Terenuthis... more
Below the scene a Greek inscription has been somewhat clumsily written: 'Isisdorus, fifty years of age. Farewell! The deceased is depicted as a Hellenistic Greek whose beard and hairstyle follow Roman fashion. The population of Terenuthis probably was mainly Egyptian. That makes it plausible that Isidorus' family was of mixed Greek-Egyptian origin. He reached a respectable age in Egyptian terms.
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Such bronze statuettes of Mercury were popular in the Low Countries, both north and south of the limes. In some altar inscriptions from Germania Inferior, Mercury is called Arvernus (the Arverni were a Celtic tribe in southern Gaul). In... more
Such bronze statuettes of Mercury were popular in the Low Countries, both north and south of the limes. In some altar inscriptions from Germania Inferior, Mercury is called Arvernus (the Arverni were a Celtic tribe in southern Gaul). In Belgica, however, this epithet linking Mercury to a local god is lacking, which may indicate that Mercury is behind several local deities. This statuette is of an exceptional quality compared to the other bronze statuettes found in the Low Countries (there are more than thirty). It means that the person who dedicated it, and who was stationed at Carvium, may well have been a high-ranking officer.
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The name Louba means ‘beloved’ in Germanic. Her father’s is a composite name, as was usual in Germanic names. The first part, Gast(i)-, means ‘guest’. The second, (i)nasus, is less common and could mean ‘rescuer’. The local names and the... more
The name Louba means ‘beloved’ in Germanic. Her father’s is a composite name, as was usual in Germanic names. The first part, Gast(i)-, means ‘guest’. The second, (i)nasus, is less common and could mean ‘rescuer’. The local names and the express mention to their tribe show that they were proud of their roots. Louba’s partner was less clear about his origins, but happily showed off his citizenship and his tribus. Quintus must have been part of the first generation of Mediterranean soldiers stationed along the Rhine. That makes this gravestone a beautiful testimony to the intercultural marriage of the Roman soldier Quintus and his Ubian beloved, Louba.
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This marble sculpture from the second century AD joins a Roman architectural element to a clearly Egyptian subject. The baboon's round face and the ibis' slim bill represent two different phases of the moon: the full moon and the... more
This marble sculpture from the second century AD joins a Roman architectural element to a clearly Egyptian subject. The baboon's round face and the ibis' slim bill represent two different phases of the moon: the full moon and the crescent. The two animals are guises of the Egyptian moon god Thoth.
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At the end of the first century AD, the Roman army introduced building in stone. Because of this development, buildings in the Low Countries became more permanent and more monumental. Theatres and homesteads as well as army camps and... more
At the end of the first century AD, the Roman army introduced building in stone. Because of this development, buildings in the Low Countries became more permanent and more monumental. Theatres and homesteads as well as army camps and temples were made of stone and roofed with tiles. Stone had to be imported, but bricks and tiles were made locally from river clay, under military supervision. Just outside the castra of Ulpia Noviomagus, on what is now the estate of Holdeurn, a large complex was constructed with several ovens where these tiles were manufactured on a large scale to supply the forts in the Low Countries. Numerous stamped roof tiles are found along the limes (border) of Germania Inferior, mainly in forts and sometimes in civilian settlements, including the one at Castellum Traiectum.
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This marble head shows similarities to other portraits from the imperial family and is dated between c. AD 20 and 40, based on style characteristics. This makes the idea attractive that it portrays Tiberius Gemellus (19-37/38 AD), who... more
This marble head shows similarities to other portraits from the imperial family and is dated between c. AD 20 and 40, based on style characteristics. This makes the idea attractive that it portrays Tiberius Gemellus (19-37/38 AD), who together with his cousin Caligula was appointed heir by the Emperor Tiberius on Capri in 31 AD.
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This realistic portrait depicts a girl of about fourteen years old, obviously from a well-to-do family. The light in her eyes hasn't faded yet. She is wearing an elegant red tunic, gold earrings, and a gold-plated crown of leaves. The... more
This realistic portrait depicts a girl of about fourteen years old, obviously from a well-to-do family. The light in her eyes hasn't faded yet. She is wearing an elegant red tunic, gold earrings, and a gold-plated crown of leaves. The crown symbolises her good fortune and the protection of the gods she enjoys in the afterlife.
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This figurine of the mother goddess dates from the second century AD and probably was a burial gift, for such figurines are usually found in graves. Moreover, this specimen is undamaged. Mother goddess terracottas found in Lower Germany... more
This figurine of the mother goddess dates from the second century AD and probably was a burial gift, for such figurines are usually found in graves. Moreover, this specimen is undamaged. Mother goddess terracottas found in Lower Germany mostly represent Ubian goddesses, dressed in long cloaks with a large round hood. The goddesses either wear a fillet, their hair down, or a round head-dress, as in this case.
We also know mother goddesses from Italy, but is unclear whether these Italian Matres were identified with the Germanic Matronae. Since the latter ones wear Ubian attire, they appear to belong to native religion. We cannot exclude, however, that Romanised Ubians adopted a Gallic tradition and adapted it to their own custom. The Ubian terracottas were manufactured near Colonia Claudia Ara Agrippinensium (present-day Cologne, Germany) and principally occur in the west of the Low Countries. Furthermore it is not improbable that ‘Roman’ terracottas of e.g. Diana, Fortuna, Minerva or Venus in fact represent native deities. It is remarkable that most terracottas depict goddesses, while statuettes of male deities were usually made of bronze.
We also know mother goddesses from Italy, but is unclear whether these Italian Matres were identified with the Germanic Matronae. Since the latter ones wear Ubian attire, they appear to belong to native religion. We cannot exclude, however, that Romanised Ubians adopted a Gallic tradition and adapted it to their own custom. The Ubian terracottas were manufactured near Colonia Claudia Ara Agrippinensium (present-day Cologne, Germany) and principally occur in the west of the Low Countries. Furthermore it is not improbable that ‘Roman’ terracottas of e.g. Diana, Fortuna, Minerva or Venus in fact represent native deities. It is remarkable that most terracottas depict goddesses, while statuettes of male deities were usually made of bronze.
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This terracotta relief shows four statues of sportsmen on pedestals in niches. In the centre, on a higher pedestal, is a statue of Hercules, recognisable by his club and lion's skin. His stance resembles that of Greek statues from the... more
This terracotta relief shows four statues of sportsmen on pedestals in niches. In the centre, on a higher pedestal, is a statue of Hercules, recognisable by his club and lion's skin. His stance resembles that of Greek statues from the fourth century BC. The sportsmen flanking him are likewise modelled on Hellenistic sculpture.
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Theatre was very popular with the Greek and later with the Roman population of Egypt, and with the inhabitants who chose to be part of Graeco-Roman culture. The numerous terracotta masks and figurines bear witness to that popularity. This... more
Theatre was very popular with the Greek and later with the Roman population of Egypt, and with the inhabitants who chose to be part of Graeco-Roman culture. The numerous terracotta masks and figurines bear witness to that popularity. This masks was used as votive gift. It may have been placed in the tomb because it was dear to the deceased.
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Some fifty big Roman facial masks have been found in the Netherlands, mainly along the limes (militarised border zone). Most were found in Nijmegen (Ulpia Noviomagus) and Voorburg (Forum Hadriani). These masks were manufactured on a large... more
Some fifty big Roman facial masks have been found in the Netherlands, mainly along the limes (militarised border zone). Most were found in Nijmegen (Ulpia Noviomagus) and Voorburg (Forum Hadriani). These masks were manufactured on a large scale in Colonia Claudia Ara Agrippinensium (modern Cologne, Germany), possibly in Augusta Treverorum (Trier, Germany). Such life-size masks are usually found in settlements and are currently regarded as interior decoration, comparable to an oscillum (small mask to hang on the wall). These masks have many local characteristics, which indicates a strong local tradition. Perhaps the small masks were souvenirs from theatre shows, e.g. from the amphitheatre at Ulpia Noviomagus. This satyr mask may also have a religious connection with Bacchus as the patron of theatre, or with a local version of the god.
The miniature mask was a burial gift, perhaps a souvenir for the deceased. This and similar terracottas illustrate the easy adaptation to Roman theatre culture on the one hand, and the endurance of strong local characteristics on the other.
The miniature mask was a burial gift, perhaps a souvenir for the deceased. This and similar terracottas illustrate the easy adaptation to Roman theatre culture on the one hand, and the endurance of strong local characteristics on the other.
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As a preview for the forthcoming catalogue of Graeco-Roman terracotta’s from Egypt in the Museum’s collection, four figures are offered fresh interpretations. A shard, once attached to an oil lamp, depicts Artemis-Selene on one side (as... more
As a preview for the forthcoming catalogue of Graeco-Roman terracotta’s from Egypt in the Museum’s collection, four figures are offered fresh interpretations. A shard, once attached to an oil lamp, depicts Artemis-Selene on one side (as personification of night) and Isis on the other (as personification of day). A Sarapis figurine, stolen from the Museum ca. 1979, por-trays the god of the dead with a broad collar. This piece of jewelry is known from funerary images such as a vignette of the Book of the Dead. Satyrs and maenads were reveling follow-ers of Dionysus, the god of wine. Comparison with other works of art lead to the conclusion that one muscular male torso should be identified as a satyr; a female torso with a bared breast as a maenad.
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The religious identification of Ptolemaic Queens with Greek and Egyptian deities has thus far received rather marginal attention in studies of Hellenistic ruler cults. This dissertation presents an interpretation of the ideological... more
The religious identification of Ptolemaic Queens with Greek and Egyptian deities has thus far received rather marginal attention in studies of Hellenistic ruler cults. This dissertation presents an interpretation of the ideological importance and symbolic significance of the queens’ identifications particularly with Aphrodite, Demeter, Hathor and Isis. Four thematic case studies on matrimony, incest, lamentation and jubilation reveal various related religious motifs, such as prosperity, fecundity, reincarnation, sacralization and victory. They bear out the notion that the Lagids’ marriages were presented in a wide range of media as (consanguineous) hieroi gamoi, and that mourning, immortalization, triumph and elation were part and parcel of royal ideology. In this context, my research underscores the amalgamation of Hellenistic and Pharaonic concepts of royalty particularly in terms of the idealized functions and duties of monarchy.
The queens’ religious identification, I argue, contributed to the popularization, legitimization and sacralization of Lagid rule in Egypt. The phenomenon offered a framework through which the queens. Authority and influence, power and prestige could be comprehended. Of course, the queen’s position depended first of all on her status as the king’s wife, as well as the mother of the crown prince. The remarkable paired representations of royal couples and her role in the transmission of divine kingship emphasize the ideological importance of the queen’s presence at court. It was, moreover, considered imperative that she participate in religious and/or royal ceremonies, such as the dynastic cult and the royal jubilee. Several Ptolemaic queens became so powerful that they actually reigned independently or as regent over their children. The worship of Ptolemaic Queens was not a simple side-effect of the cults established for Ptolemaic Kings. Neither in Pharaonic Egypt nor in other Hellenistic kingdoms were female members of the royal house honored on a par with their spouses. I contend that individual queens did derive personal prestige from their deification, and that at least in the case of some of the later queens this prestige corresponds to their exercise of actual political power. In their exemplary position at the Alexandrian palace the queens thus encouraged female participation in Hellenistic Egypt.
The queens’ religious identification, I argue, contributed to the popularization, legitimization and sacralization of Lagid rule in Egypt. The phenomenon offered a framework through which the queens. Authority and influence, power and prestige could be comprehended. Of course, the queen’s position depended first of all on her status as the king’s wife, as well as the mother of the crown prince. The remarkable paired representations of royal couples and her role in the transmission of divine kingship emphasize the ideological importance of the queen’s presence at court. It was, moreover, considered imperative that she participate in religious and/or royal ceremonies, such as the dynastic cult and the royal jubilee. Several Ptolemaic queens became so powerful that they actually reigned independently or as regent over their children. The worship of Ptolemaic Queens was not a simple side-effect of the cults established for Ptolemaic Kings. Neither in Pharaonic Egypt nor in other Hellenistic kingdoms were female members of the royal house honored on a par with their spouses. I contend that individual queens did derive personal prestige from their deification, and that at least in the case of some of the later queens this prestige corresponds to their exercise of actual political power. In their exemplary position at the Alexandrian palace the queens thus encouraged female participation in Hellenistic Egypt.