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Male Harp Player of the Early Spedos Type

Hand Mirror Decorated with the Head of Medusa

Caeretan Hydria

Mummy Portrait of a Woman

MUSIC: [lyre string music]

NARRATOR: In this Roman-Egyptian mummy portrait of a wealthy woman, pearl earrings, a jeweled choker, and gold-ornamented shroud all mark the aristocratic status she would have held in life. Rather remarkably, almost 2000 years after her death, her name is known.

Conservator Marie Svoboda explains.

MARIE SVOBODA: Many Roman mummies from this period have the names of the deceased, and we know her as "Isidora" because there's an inscription on the side of her shroud.

NARRATOR: You can see the name Isidora written in Greek on the upper-left corner of the portrait. This inscription was thought to help the spirit of the dead recognize the body, and for practical reasons, to identify and return it to the family after mummification.

The portrait itself, which was once attached to the mummy, is painted in encaustic, a mixture of wax and pigment applied with brushes and other tools to a wooden surface.

MARIE SVOBODA: One of the features of the encaustic technique is not only the beautiful colors and translucency, but the tool markings that you can see on the surface.

NARRATOR: It took both careful observation and creative license to paint a rather lifelike portrait like this after the subject's death. The artist noted signs of Isidora's mature age, like the creases on her neck and shadows beneath her eyes. But he also added a sparkle to her eyes and flattered her likeness in other ways.

MARIE SVOBODA: You see this highlight underneath her chin and on her neck that is just absolutely beautiful. You also see the light highlighting her lips and down her nose. It's evidence that the artist was very, very talented and really understood the materials.

MUSIC: [lyre music]

NARRATOR: The red paint of her shroud and the type of wood the portrait is painted on, even the technique of encaustic, originated beyond Egypt. These imported materials were chosen to help preserve the mummy. But they, and the overall style of this portrait, also reflect the mix of cultures---namely Greek, Roman, and Egyptian---in the region at that time. Much about Isidora is uncertain. Yet with her distinctive features she seems convincingly real.

Elgin Throne

Bust of Commodus

Cameo Glass Skyphos

MUSIC: [upbeat Roman music, danceable, party crowd]

NARRATOR: You have been invited to a small, private dinner party in ancient Rome, a *convivium*, reserved only for elite men and women. As you enter your host's home, you are led into a lavish dining room and discover that this evening isn't just about dining. Rather, it is a feast for the senses. Chatter and music fill the room as diners are entertained by live performance. A heavenly aroma of food and wine wafts towards your nose. The room is filled with artwork---mosaic floors, frescoed walls, and decorative sculpture---but what catches your eye is this extravagant glass wine cup.

Banquets were a way for hosts to dazzle their guests, especially with their luxurious wares, and this cup is no exception. Milky white figures radiate against a translucent, sapphire background in a technique known as cameo glass. Cameos were typically gems, carved out of naturally layered stones such as agate. These carved gems were rare, and highly prized, as was cameo glass. A cup like this was certainly reserved for special occasions.

To make this wine cup, it's likely a Roman glass artist poured molten glass into a hollow mold, carved into the shape of the vessel you see here; the sloping body, circular horned handles and foot were all one piece, though *this* base is a modern addition. The artist would have started with the outer, white layer then poured a second internal layer of blue glass. After a slow cooling process, the outer white layer was partially cut away and polished to reveal the dark blue background. The white areas that remain were carefully carved to create a complex relief of lively figures, including Bacchus, god of wine, who the Greeks knew as Dionysos.

MUSIC: [lyre]

Partially draped, Bacchus sits under the shade of a tree at right. This god is often accompanied by satyrs---creatures who are half-man half-beast. One serenades him at the center of the scene with a harp-like instrument called a lyre. The satyr looks over at a woman who sips wine from a shallow bowl. On the opposite side, Bacchus's wife, Ariadne, reclines on a rocky seat---her hand resting behind her head---while a servant dutifully attends to her. Not so coincidentally, the scenes on this cup match that of the banquet, filled with music, servants, and of course, wine. Perhaps this cup is reminding all who admire it to eat, drink, and be merry!

Male Harp Player of the Early Spedos Type

SOUND EFFECTS: [soft rolling of waves, seagulls, coastal sounds]

NARRATOR: Southeast of Greece, in the Aegean Sea, mountains rise out of the ocean to form 30 islands known as the Cyclades. They are home to vacation destinations such as Mykonos and Santorini. But before the picturesque hillsides of white houses and blue domed chapels, even before the rise of ancient Greece, there lived the Cycladic people.

SOUND EFFECTS: [ocean fades]

This small statuette is one of the oldest objects in the Getty's collection, made nearly four millennia ago in a time known as the Bronze Age. There were no iron tools---chisels, for instance---so this marble figure was carved with hard stones such as volcanic glass, called "obsidian," and abrasive materials like pumice. The artist was able create a smooth, continuous figure composed of both angular shapes and, more impressively, negative space.

MUSIC: [ancient, mysterious solo harp]

Seated on a square, four-legged stool is a musician, who rests a large bow-shaped instrument on his knee, an early form of a harp. His right arm lies atop the sound box, while his left arm holds the curving frame, which extends outward in a swooping swan-bill. His head tilts, perhaps in song. Though stark in form, notice the tiny, intricate details: incised fingers and toes, and a dainty, pointed nose. Other features---like the eyes and mouth---would have been added with paint.

Who does this figure represent? What is its meaning? It's hard to say, as there is little evidence suggesting its function. Moreover, this is one of eleven known harp players in the world. Many small marble figures---like this one---were found in tombs, which could indicate ceremonial or funerary use. Perhaps he was there to accompany the deceased, to play for them in the afterlife. Some believe that it is a representation of Apollo, god of music, who played a kind of harp called a lyre. Whether divine or human, this figure illustrates the practice of many ancient cultures, including the Cycladic people, who shared their history, often through song.

Statue of Hercules (Lansdowne Herakles)

Statue of a Victorious Youth

NARRATOR: Leaning on one leg, a nude bronze man lifts two fingers to his head. Is he waving? Beckoning you closer? Perhaps he is thinking, scratching his head at a puzzling thought. Follow his fingers; they point towards a clue. Nestled in the thick waves of his hair is an olive wreath---now missing its slender leaves---which were awarded to the victors of the Olympic games.

MUSIC: [triumphant music]
‍
In Ancient Greece, athletes were typically depicted nude. This athlete has a lean physique with long slender legs and taut abdominals. As you walk around his body, you might notice that he isn't incredibly buff. The soft modelling of his body, paired with his round cheeks, suggests that this athlete is young.

This young athlete lifts his hand to remove his olive wreath and dedicate it to the gods in an act of tribute. The Olympic games were held in honor of the god Zeus, and statues of Olympic victors were erected at the sanctuary of Zeus at Olympia. This bronze athlete was made over two millennia ago---between 300 and 150 B.C.---and would have stood on this sacred hill amidst a sea of statues, hundreds in fact.

Few bronze statues survive from Olympia, as many were destroyed or melted down and repurposed. This athlete is one of a handful of life-size bronze statues, and was preserved, for many years, underwater.

SOUND EFFECTS: [starting at port, we hear the sounds of the ship leaving, a big storm hits]

He was wrenched from a stone base---evident by his severed ankles---and placed on a ship to Italy. The ship wrecked in a storm and sank, with its cargo, to the bottom of the Adriatic Sea.

SOUND EFFECTS: [sound of heavy object sinking in water]

There, for centuries, the athlete waited underwater.

SOUND EFFECTS: [large, deep bubbles]

Slowly, the golden bronze of his skin turned brown and green from the saltwater. His copper nipples lost their shine, and his eyes---once made of ivory or glass---washed away. Over time, he became home to a number of tiny sea-creatures.

SOUND EFFECTS: [distant ship horn, sounds of men yelling, hoisting, splash of an object emerging from water]

In the early 1960s, by chance, a group of fishermen hauled the bronze athlete from the waters of the Adriatic. Though the sea altered his appearance, it also provided shelter, as it was the only way this bronze statue has survived for so long. Now, his triumph is that he is one of few ancient Greek bronze sculptures left in the world.

Grave Stele of Pollis

MUSIC: [classical music]

NARRATOR: This ancient gravestone shows a Greek hoplite, or foot soldier, in action. Apart from his armor, he is nude. A shield guards his left shoulder. He wears a scabbard and sword at his hip. In his right hand, he wields a spear. Antiquities curator, David Saunders.

DAVID SAUNDERS: Images of warriors on gravestones are not unusual. Generally they show the warrior standing at ease, relaxed before he goes into battle. This one is atypical because here you see the warrior tensed, as if fighting in the front line, ready to face his enemy.

NARRATOR: The shield resting on his shoulder is the distinctive way the hoplites would carry their shields going into battle. And they would present to the enemy, when lined up in a row, a mass of shields that would ideally be impenetrable.

DAVID SAUNDERS: This shows an individual warrior, but what was actually important in practice was the rank of hoplites in line together, each protecting one another. However strong and brave an individual was, he needed the support of his fellow man in order to prevail. So there is this idea of mutual dependency, and this rings true to the democratic ideal in Greece.

NARRATOR: It also explains, to a degree, the meaning and poignancy of the gravestone's inscription.

DAVID SAUNDERS: The inscription above the image reads: "I speak, Pollis, the beloved son of Asopichos. I died, not as a coward, by the wounds of the tattooers."

NARRATOR: "The tattooers" is for us a mysterious reference. But at that time, the people of Thrace, now Bulgaria, were known for their tattoos. In the fifth century B.C., the Thracians allied with the Persians against the Greeks.

DAVID SAUNDERS: It's actually relatively rare that we get to see a gravestone that shows us both the image and the inscription side-by-side. And in this case together, they give us more information than we typically get from an ancient Greek gravestone. So we can actually work out from the inscription when Pollis died and his proud assertion that he died not as a coward. This is what we see two and a half thousand years later.

[music ends]

Sarcophagus with Scenes from the Life of Achilles

Stag Rhyton

Pendant: Ship with Figures

Elgin Throne

Stories in Stone

Guide

High School

This rare example of a Greek ceremonial chair (“thronos” in ancient Greek) was found in Athens and likely once stood in a public place as a seat of honor. Such marble chairs often had ornamental arm rests and animal legs in front, like this one. While we usually think of thrones being made for royalty, the Greek seats were intended for important officials and prominent members of the community. In theaters and crowded meeting places their high backs would have stood out from the bench seating provided for most people. Some ceremonial chairs were built into other nearby seats, but this one is freestanding, meant to be viewed from all sides.
Object Name: Elgin Throne Date Created: 300–200 BCE Place Found: Athens, Greece Culture: Greek
Material: Marble
Maker: Unknown Dimensions: 81.5 × 70 × 66 cm
(32 1/16 × 27 9/16 × 26 in.) Getty Museum

FEATURED ART OBJECT
On the back of this chair, just below the top, an inscribed text names BOETHOS, but the text is too badly worn to tell us about him or whether he is the person the chair was originally meant to honor. The back and armrests are carved with symbolic imagery in low relief above a horizontal carved band running around the chair at the level of the seat. The raised decoration would once have been painted to stand out more clearly, but the paint and some of the stone have worn away. On the back, two olive wreaths, symbols of victory and honor, are carved below the inscription. On the outside of the armrests are two different narrative relief scenes of warriors, each symbolizing the Athenian rejection of tyranny and outside control.
Details of the Reliefs
On the exterior of the right armrest, two armed men stride toward the front of the chair with their weapons raised
Inscribe
To write something on or cut letters, text, or imagery into a hard medium with a sharp tool.
Relief, low
Method of carving figures or designs into a surface so that they are raised slightly above a flat background.
Narrative
In this context, a story told in art, sometimes a shorthand version of longer, more complex tales told orally or in literature.
Tyranny
Absolute control of government by an oppressive ruler.

FEATURED ART OBJECT
Did You Know?
When marble seating was included in public architecture, people often brought their own cushions to sit on since the seats were so hard.
dramatically. Although the heads of the men have been worn away, their poses suggest that they are two elite Athenians named Harmodios and Aristogeiton. They were called the Tyrannicides (tyrant-slayers) and were credited with introducing Athens to democracy by assassinating a tyrant (actually, the tyrant’s brother) in 514 BCE. Until that time, the word “tyrant” just meant a sole ruler, although it came to mean a lawless or cruel one. Despite the damage to both figures, we can see Harmodios at Aristogeiton’s left side with his arm uplifted, while the older, bearded Aristogeiton advances with his sword held out horizontally. Both are nude except for a cloak thrown over the older man’s left arm. Greeks represented athletes, gods, and heroes nude to signify their moral and physical excellence. The two men represent heroic resistance to oppression.
On the exterior of the left armrest, a Greek hero is about to kill an Amazon, one of a tribe of female warriors. He is probably Theseus, the founding hero of Athens, credited with unifying the area around Athens and later defeating the Amazons when they attacked the city. Theseus is nude like the Tyrannicides except for his armor (helmet, shield, and sword).

Object Name: Elgin Throne Date Created: 300–200 BCE Place Found: Athens, Greece Culture: Greek
Material: Marble
Maker: Unknown Dimensions: 81.5×70×66cm (321/16× 27 9/16 × 26 in.) Getty Museum
He stands above the fallen Amazon in a dramatic pose, sword lifted high to strike as she struggles on her knees. It is hard to identify much more than her outline, the folds of her knee-length garment, and what may be leggings below. However, based on similar scenes from this time period, we can assume who these figures are. The depiction of a strong, heroic Theseus towering over the defeated Amazon made this scene a symbol of Athenian triumph over their enemies.
More on the Amazons: Fact or Fiction?
There are other stories of the Amazons, who lived in a female-only society, spurning men but fighting on equal terms with them. Although Amazons have long been thought to be a complete invention, they may have a historical basis. In recent decades, archaeologists have discovered burials of female warriors far to the northeast of Greece.
FEATURED ART OBJECT

Inscribe
VOCABULARY
To write something on or cut letters, text, or imagery into a hard medium with a sharp tool.
Narrative
In this context, a story told in art, sometimes a shorthand version of longer, more complex tales told orally or in literature.
Low relief
Method of carving figures or designs into a surface so that they are raised slightly above a flat background.
Tyranny
Absolute control of government by an oppressive ruler.

TAKE A CLOSER LOOK
Close up of Tyrannicides on exterior of right armrest Closeup of Theseus on exterior of left armrest

VISUAL ANALYSIS
Describing Objects in Detail: Elgin Throne
45 MINS
Explore an object in depth using video, audio and images, and describe the details of that object through writing and/or sketching.
OBJECTIVES:
After completing this activity, you will be able to:
• Examine and describe the details of an ancient object
• Explain how an ancient object was used in the time that it was made
• Gather and make notes about information seen or heard in video and audio clips
MATERIALS NEEDED:
• High-resolution digital images of the Elgin Throne (the image of the entire object and detailed images from different points of view).
• Video: Elgin Throne
• Audio: Elgin Throne (a.k.a. Ceremonial Chair)
• Graphic Organizers (two options pg. 10 & pg. 13)
• OPTIONAL:
• Index cards
• Access to video recording device

VISUAL ANALYSIS
DIRECTIONS:
1. 2.
Watch the video about the Elgin Throne.
At the end of the video, the question is posed, “What kinds of people are given special seats today?” Consider this question individually or in small groups and write a short response. You may respond in one of the following ways:
3.
4.
Next, look closely at the Thone’s details using high-resolution digital images showing several points of view. Zoom in on the carvings on the exterior, back, and sides. Use the graphic organizer to make notes about the details you notice. You may not be able to fill out all sections of the graphic organizer just by looking at the object.
To gather more information, listen to the audio clip about the Elgin Throne, also described as a Ceremonial Chair. As you’re listening, add to your notes in the graphic organizer. (You may want to listen to the audio clip more than once or pause as you make notes.)
a. b.
c.
Write your response on index cards.
Type your response on a smartphone or device and share it digitally (e.g. via a shared slide deck or shared classroom drive.
Make a short video of your response and share it with the class (e.g. via an app like flip or shared classroom drive).

VISUAL ANALYSIS
5. Finally, decide which detail you find most interesting, and either sketch it or write a short description. 6. OPTIONAL:Shareyoursketchorshortdescriptionwithyourpeersinaclassroomgalleryexhibition
that ends with a gallery walk.

HANDOUT
Art Analysis: Elgin Throne
Explore an object in depth using video, audio and images, and describe the details of that object through writing and/or sketching.
Step 1 - Look closely at the images of the object. Then describe what you see by answering the questions in the chart below:
Art Analysis Questions
My Description
What material was used?
What color(s) do you see?
What shapes or decorations do you see?

HANDOUT
Art Analysis Questions
My Description
What images (animals, people, places, plants, things, etc.) do you see?
What do your eyes focus on? Why?
What shapes or decorations do you see?

HANDOUT
Art Analysis Questions
My Description
What surprises or interests you about the Elgin Throne?
What do you believe was the function of this object? Why?
Step 2 - Think about what questions you have about the Elgin Throne. Write your questions in the space below or on a separate document.

HANDOUT
Elgin Throne Notes:
Describe the object’s form (material, color, shape, Information or details that surprised or interested you: decoration, etc.):

HANDOUT
Describe the object’s function: Questions you have about the object:

ART-MAKING ACTIVITY
Using Line Drawings to Continue a Narrative
45 MINS
Explore the connection between art and storytelling by reading a scene from a story carved in stone, and then extending that story through line drawings.
OBJECTIVES:
After completing this activity, you will be able to:
• Use visual evidence to support interpretations of narrative images
• Create a drawing of a moment to continue a narrative about people
• Use drawing to communicate a story
MATERIALS NEEDED:
• Paper
• Pencils (or colored pencils)
• Eraser
• Otto Magnus von Stackelberg’s drawing of the Elgin Throne, Getty Research Institute High-resolution digital images of the Elgin Throne (the image of the entire object and detailed images from different points of view).
• OPTIONAL: Featured Art Object information for Elgin Throne

ART-MAKING ACTIVITY
DIRECTIONS:
Narrative art is when an artist creates a work that tells a story or shows an event. In this activity, create your own work of narrative art through a simple line drawing.
1. Look at photographs of the Elgin Throne and zoom in to its carvings of the figures. Take
some time to identify their shapes and lines. Look at this drawing of the throne by Otto Magnus von Stackelberg as an example.
Discussion Questions:
• What do you think the figures are doing? What do you see that led you to that conclusion?
• What object(s) can you identify in the scene?
• What might they be thinking about?
• What might they have been doing before this scene?
• What might they do after this scene?

ART-MAKING ACTIVITY
OPTIONAL: Read the Featured Art Object description for Elgin Throne to learn more about the narratives depicted in the carvings.
2. Pickoneofthefiguresshownwhosestoryyouwouldliketocontinue.Usingapencil,sketchthefigure in a scene before or after the moment shown. The sketch should show just the basic shapes and outlines of the characters and the setting. Then, add details such as symbols, backgrounds, and objects around the characters. (OPTIONAL: Use colored pencils for this step.)
3. Shareyournarrativewithotherstudentsinsmallgroups.Explainwhatdetailsonthethroneledyouto the before or after scene you chose to draw.
4. Whileyourclassmatessharetheirnarratives,takenotesaboutsimilaritiesanddifferences.Answerthe following questions:
• Were there any details you missed or interpreted differently?
• If you had a different interpretation, what details led you to that interpretation?
EXPLORE MORE
If not already done during the Optional activity, read the Featured Art Object information for Elgin Throne then discuss the narratives on the throne using the following prompts:
• Describe the basic plot of each of these stories. Look for visual clues in the image that show details of the story.
• Are there any elements of these stories that are still relevant today? What are they?

RELATED LINKS
Connecting the Provenance of Antiquities Collections from Getty (includes a drawing of the Elgin Throne)

STANDARDS
National Core Arts Standards:
Prof.VA:Cr3 Apply relevant criteria from traditional and contemporary cultural contexts to examine, reflect on, and plan revisions for works of art and design in progress.
Prof.VA:Re7.1 Hypothesize ways in which art influences perception and understanding of human experiences. Prof.VA:Re7.2 Analyze how one’s understanding of the world is affected by experiencing visual imagery.
Prof.VA:Re8 Interpret an artwork or collection of works, supported by relevant and sufficient evidence found in the work and its various contexts.
Prof.VA.Cn11 Describe how knowledge of culture, traditions, and history may influence personal responses to art. Common Core English Language Arts Standards:
9-10.SL.1 Initiate and participate effectively in a range of collaborative discussions (one-on-one. in groups, and teacher-led) with diverse partners on grades 9–10 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.
9-10.SL.5 Make strategic use of digital media (e.g., textual, graphical, audio, visual, and interactive elements) in presentations to enhance understanding of findings, reasoning, and evidence and to add interest.
9-10.W.3 Write narratives to develop real or imagined experiences or events using effective techniques, well-chosen details, and well-structured event sequences.
9-10.WHST.9 Draw evidence from informational texts to support analysis, reflection, and research. California Social Studies Standards:
HSS-10.1 Standard: Students relate the moral and ethical principles in ancient Greek and Roman philosophy, in Judaism, and in Christianity to the development of Western political thought.

‍

Cameo Glass Skyphos

&

Caeretan Hydria

Design and Storytelling in Ancient Vessels

Guide

High School

Animal

Object Name: Bust of Commodus Date Created: 180-185 CE
Place Created: Rome, Italy Culture: Rome
Material: Marble
Maker: Unknown
Dimensions: 69.9 × 61 × 22.8 cm, 92.9874 kg
(27 1/2 × 24 × 9 in., 205 lb)
Getty Museum
Portrait
Image of a person, usually the head and face. Some portraits include part of the chest or show the whole body. The image may closely resemble a person or emphasize, idealize, or invent characteristics.
Bust
Portrait of a person including the head and neck, and sometimes the shoulders and part of the chest.
Attributes
Object, clothing, symbol, or physical characteristic associated with a specific person, hero, or god. An attribute can identify a figure in an artwork.
At 16 years old, Commodus became co-ruler of the Roman Empire with his father Marcus Aurelius. Two years later his father died, and he became sole emperor at an age when some students start college. This portrait bust celebrated his new status. The portrait was likely painted and would have looked more lifelike, but over the centuries, colors fade. Remaining traces would have been rubbed away by over-cleaning probably in the 1700s.
Rulers’ portraits helped their subjects recognize them. Portraits were sent from Rome to be copied in cities all across the empire. Distinctive attributes identified each emperor, including facial features, hairstyles, and

FEATURED ART OBJECT
Propaganda
Visual or written communication used to persuade someone or encourage an opinion.
symbols. Members of the royal family showed their relationship by copying the ruler’s hair and beard. In this portrait, Commodus has a long face and slightly protruding eyes with his eyelids lowered. He looks calm and serious. The sculpture’s deeply carved curls and pupils were popular in portraits of this time. Commodus’s hair and beard are similar to his father’s. His cloak suggests military leadership, although the young emperor abandoned Marcus’s war against Germanic tribes.
Imperial portraits influenced public opinion by sending a desired message (propaganda), such as strength, military experience, or wisdom. Many emperors, like Commodus, copied the smooth, idealized faces of heroes in Greek art. Other rulers emphasized life skills shown by age. An emperor’s portrait was remade many times during his lifetime. A new type was often created for special occasions, such as this one made in honor of his rise to sole ruler.

FEATURED ART OBJECT
Scholars describe the five rulers before Commodus as the “Five Good Emperors,” including his respected father. Unfortunately, Commodus became known as a bad emperor. Within two years, his sister tried to assassinate him. This made him suspicious of everyone. He survived another attempt on his life five years later. Over time, his behavior became cruel and bizarre. Commodus fought in the arena as a beast fighter and gladiator, which was considered disgraceful. He renamed Rome after himself, which offended many citizens. Finally, he began to present himself in sculpture as the hero Hercules. This was too much. A third effort to assassinate him in 192 CE succeeded. Commodus was only 31 years old when he died.

VOCABULARY
Attribute
Object, clothing, symbol, or physical characteristic associated with a specific person, hero, or god. An attribute can identify a figure in an artwork.
Bust
Portrait of a person including the head and neck, and sometimes the shoulders and part of the chest.
Portrait
Image of a person, usually the head and face. Some portraits include part of the chest or show the whole body. The image may closely resemble a person or emphasize, idealize, or invent characteristics.
Propaganda
Visual or written communication used to persuade someone or encourage an opinion.

TAKE A CLOSER LOOK
Closeup of Bust of Commodus
Back of Bust of Commodus

TAKE A CLOSER LOOK
Bust of Commodus - Right Bust of Commodus - Left

TAKE A CLOSER LOOK
3/4 View of Bust of Commodus

ANALYZE & DISCUSS
Analyze a Marble Bust
45 MINS
Use close looking and discussion to analyze the function of imperial portraiture, including how an emperor used his image to influence the Roman people.
OBJECTIVES:
After completing this activity, you will be able to:
● Examine and describe an ancient object
● Identify visual clues and explore how Commodus was depicted
● Listen to others’ perspectives about an ancient object
MATERIALS NEEDED:
● High-resolution digital images of Bust of Commodus, including images from different points of view.
● 3D image of Bust of Commodus
Note for Teachers:
This activity works best as a lead-in activity before students read about
or research the object and focus specifically on what can be discovered through visual analysis.

ANALYZE & DISCUSS
DIRECTIONS:
1. Begin by looking closely at Bust of Commodus and/or the 3D image of Bust of Commodus.
2. Make sure to zoom in and out to notice small details.
3. Then discuss the following questions as a class or in small groups.
Discussion Questions:
● What do you see? Take inventory of the elements of this portrait.
● What do you think the portrait communicates about this person?
● Where do you think this bust might have been displayed?
● What does the facial expression tell us about the person?
● How do you think the maker created this portrait?
● Why do you think this detailed bust was made?
● Do you think this portrait accurately reflects how the person was in real life or shows an
idealized image of the subject? What do you see that supports your opinion?

RESEARCH REPORTER
What is Propaganda?
90 MINS
Work in groups to research propaganda and pick a method to report What you learned.
OBJECTIVES:
After completing this activity, you will be able to:
• Define propaganda using examples from ancient and contemporary society
MATERIALS NEEDED:
● Video: Bust of Commodus
Did You Know?
The life-size marble bust of Commodus weighs a whopping 205 pounds. In contrast, a hollow-cast bronze bust of about the same size might weigh as little as 20 pounds.

RESEARCH REPORTER
DIRECTIONS:
1. Begin by watching the Bust of Commodus video.
2. Split into small groups to explore the question at the end of the video: “Why is art
sometimes used as propaganda?”
3. Use the following questions to guide research about propaganda:
● What are the goals of those who create propaganda?
● What is an example of propaganda?
● Can you find a portrait from today used as propaganda?
● Why do you think portraits are used as propaganda?
● How are portraits used for propaganda shared today?
● What are the differences between how they are shared today versus in ancient
Rome?
● What do you think about the use of portraits for propaganda?
4. Choose a way to report your findings, either individually or in small groups. You can create a presentation, news report, large poster, etc. Get creative! Your presentation should include the answers to the research questions. All team members should contribute.

ART-MAKING ACTIVITY
Make a Bust Portrait
90 MINS
Create a bust portrait of someone important to you.
OBJECTIVES:
After completing this activity, you will be able to:
● Create a bust portrait
● Use features and attributes to portray a person
● Reflect on the creative process of making a bust portrait
MATERIALS NEEDED:
● High-resolution digital image of Bust of Commodus
● Audio: Bust of Commodus
● Drawing materials such as colored pencils or markers
● A large piece of drawing paper (at least 11” x 17”)

ART-MAKING ACTIVITY
Directions:
1. Before getting started, listen to the audio about Bust of Commodus while viewing an image of the object to get ideas about how the attributes and features of Commodus were used to portray him in a particular way.
2. Choose a person important to you to feature in your bust portrait. They might be someone you know or someone famous you admire. Brainstorm why they are important and what you want to communicate about them. Write a list of features and attributes of that person.
3. Choose a few features and attributes from your list, then decide on attributes to include in the portrait. For example, what kind of facial expression might the person have? Are they wearing any jewelry? Do they have any unique features or attributes to include?

ART-MAKING ACTIVITY
4. Draw a pedestal on a large piece of paper. For ideas, look at the Bust of Commodus.
5. Use markers or colored pencils to add at least three features and attributes of the
person.
6. Reflect and write about your creative process. Write down your answers to the following
questions.
● Why did you choose this person for your portrait?
● What attributes or features did you include and why?
● What part of making your bust portrait did you enjoy the most? Why?

RELATED LINKS
• Bust of Emperor Commodus 3D Image from Arc/k Project
• The Getty Commodus from Getty Museum
• Video on Carving Marble with Traditional Tools
• Roman Portrait Sculpture: The Stylistic Cycle from Metropolitan Museum of Art
• Propaganda definition from Encyclopedia Britannica

STANDARDS
National Core Arts Standards:
6.VA:Cn11 Analyze how art reflects changing times, traditions, resources, and cultural uses.
6.VA:Cr2.1 Demonstrate openness in trying new ideas, materials, methods, and approaches to making art and design. 6.VA:Cr3 Reflect on whether personal artwork conveys the intended meaning and revise accordingly.
6.VA:Re7.1 Identify and interpret works or art or design that reveal how people live around the world and what they value. 6.VA:Cn11 Analyze how art reflects changing times, traditions, resources, and cultural uses.
Common Core English Language Arts Standards:
SL.6.1.A Come to discussions prepared, having read or studied required material; explicitly draw on that preparation by referring to evidence on the topic, text, or issue to probe and reflect on ideas under discussion.
SL.6.1.C Pose and respond to specific questions with elaboration and detail by making comments that contribute to the topic, text, or issue under discussion.

STANDARDS
Common Core English Language Arts Standards:
SL.6.2 Interpret information presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how it contributes to a topic, text, or issue under study.
SL.6.5 Include multimedia components (e.g., graphics, images, music, sound) and visual displays in presentations to clarify information.
RI.6.4 Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings.
W.6.1A Introduce claim(s) and organize the reasons and evidence clearly.
W.6.1B Support claim(s) with clear reasons and relevant evidence, using credible sources and demonstrating an understanding of the topic or text.
W.6.2.D Use precise language and domain-specific vocabulary to inform about or explain the topic.
W.6.7 Conduct short research projects to answer a question, drawing on several sources and refocusing the inquiry when appropriate.
W.6.8 Gather relevant information from multiple print and digital sources; assess the credibility of each source; and quote or paraphrase the data and conclusions of others while avoiding plagiarism and providing basic bibliographic information for sources.
California Social Studies Standards:
6.7.8 Discuss the legacies of Roman art and architecture, technology and science, literature, language, and law.

‍

Mummy Portrait of a Woman

Exploring Ancient Life through Mummy Portraits

Guide

Middle School

‍

This portrait shows a wealthy woman who lived in Egypt during a time whenthe land was part of the Roman Empire. Her curly hairstyle, braids, and bunwere popular during the rule of the Roman emperor Trajan around 100 CE.The name “Isidora” is painted on her right shoulder in ancient Greek. TheGreeks had ruled Egypt for 300 years before the Romans took over and byIsidora’s time, the Romans had been in control for well over 100 years. Shemay have identified herself as an Egyptian, a Roman citizen, and a person ofGreek origin, all at once.

People of different cultural backgrounds in Egypt shared social, artistic, andreligious practices. In Roman times, many people still practiced the longtradition of mummification.

Trajan

Roman emperor whoruled from 98-117 CEand expanded theRoman Empire.

Mummification

Process of preserving a body bydrying it. The Egyptians removedinternal organs and put natron, anatural mineral mixture, on andinside the body. This absorbedmoisture and prevented decay.

When Isidora died, she was mummified and wrapped in strips of linen cloth. Her portrait was painted on a wooden panel and placed over her face. Her body was wrapped in a red shroud (burial sheet), leaving the portrait visible. Her clothing was painted on the shroud, but most of the shroud is broken away. Faint traces of color are visible above the break on the right side. This suggests that her arms were crossed and she once held a rose petal wreath in her right hand. Other women from this area who were buried in red shrouds held such wreaths in this position.
Many details identify Isidora as a person with wealth and status. The portrait itself is of high quality, carefully painted with tinted wax (encaustic) on an imported wooden panel. Her jewelry is of gold, amethyst, emeralds, and
Encaustic
Technique of painting using colored pigments mixed with wax. The waxy mixture was worked with a tiny spatula.

FEATURED ART OBJECT
pearls. Her clothing is Roman and expensive, including a lavender cloak. The stripes on her cloak are symbols of high rank. Parts of Isidora’s jewelry, clothing, and shroud were gilded (covered with gold), including her wreath, earrings, necklace, the edges of the stripes on her cloak, and the designs on the wrappings around her face. The shroud (aside from the part painted to show her clothing) was colored with red lead, a mineral imported from Spain.
Egyptian tombs were often treated disrespectfully in the past by thieves and excavators. Burials were disturbed and mummified bodies damaged. Collectors looked for portraits, amulets, and other valuable items included within the wrappings, and often discarded the bodies. At an uncertain time, Isidora’s portrait was removed from her wrappings with parts of the surrounding shroud still attached. Her body was lost.
Gild
To apply a thin layer of gold foil or liquid gold (gilt) to create the look of solid gold.
Portrait
Image of a person, usually the head and face. Some portraits include part of the chest or show the whole body. The image may closely resemble a person or emphasize, idealize, or invent characteristics.

Encaustic
Trajan
Roman emperor who ruled from 98-117 CE and expanded the Roman Empire.
VOCABULARY
Technique of painting using colored pigments mixed with wax. The waxy mixture was worked with a tiny spatula.
Gild
To apply a thin layer of gold foil or liquid gold (gilt) to create the look of solid gold.
Mummification
Process of preserving a body by drying it. The Egyptians removed internal organs and put natron, a natural mineral mixture, on and inside the body. This absorbed moisture and prevented decay.
Portrait
Image of a person, usually the head and face. Some portraits include part of the chest or show the whole body. The image may closely resemble a person or emphasize, idealize, or invent characteristics.

TAKE A CLOSER LOOK
Closeup of Mummy Portrait of a Woman

ANALYZE & DISCUSS
Analyze a Mummy Portrait
30 MINS
Use close observation and discussion to make informed guesses about this ancient mummy portrait of a woman.
OBJECTIVES:
After completing this activity, you will be able to:
• Examine and describe an ancient work of art
• Identify visual clues and explore what they say about the subject’s identity
• Listen to others’ perspectives about an ancient work of art
MATERIALS NEEDED:
Note for Teachers:
This activity works best as a lead-in activity before students read about
or research the object, in order to focus specifically on what can be discovered through visual analysis.
• •
High-resolution digital image of Mummy Portrait of a Woman OPTIONAL (for Explore More):
• Featured Art Object information for Mummy Portrait of Isidora
• Audio: Mummy Portrait of Isidora

ANALYZE & DISCUSS
DIRECTIONS:
Begin by looking closely at high resolution images of Mummy Portrait of a Woman. Make sure to zoom in and out to notice small details. Then discuss the following questions as a class or in small groups.
Discussion Questions:
• What is a portrait?
• Describe the details you notice in this portrait.
• What can you tell about the person in the portrait? What details in
the portrait give you clues?
• Can you describe this person's social status and/or wealth status?
Explain.
• Why do you think this portrait was made?

ANALYZE & DISCUSS
EXPLORE MORE
Read the related Featured Art Object information and/or listen to Audio: Mummy Portrait of a Woman. Discuss which details you already noticed from your visual analysis and identify four new pieces of information you learned from reading about the object and/or listening to the audio clip. Write down the four new pieces of information.
Did You Know?
In order to lessen damage, scientists today study mummies without unwrapping them, using X- rays and CAT scans.

BE A DETECTIVE
Identify Clues from Life
30 MINS
Discover how funerary portraits can give the viewer a glimpse into the personal life of the deceased.
OBJECTIVES:
After completing this activity, you will be able to:
• Describe the types of details used in ancient mummy portraits that offer clues about the subject’s identity
MATERIALS NEEDED:
• A printout of a high resolution image of Mummy Portrait of a Woman (an online image in combination with software that allows mark-ups can be used if printing is unavailable)
• Featured Art Object information for Mummy Portrait of a Woman
DIRECTIONS:
Look for clues in this ancient mummy portrait that give a glimpse into the personal life of the woman.

BE A DETECTIVE
1. Read the Featured Art Object information for Mummy Portrait of a Woman, while viewing an image of the portrait.
2. Using either a printout of Mummy Portrait of a Woman or a digital image on a computer with software that allows markups, circle and label each of the details of the portrait that tell us about the subject’s identity and/or characteristics.
3. Discuss what details you circled and labeled in small groups or as a class. What does each detail tell you about the person portrayed in the portrait?
OPTIONAL:
Write a paragraph summarizing your guesses about the person in the portrait, using descriptions of visual details to support your ideas.

ART-MAKING ACTIVITY
Make a Self-Portrait
90 MINS
Create a self-portrait that captures how you would like to be remembered years from now.
OBJECTIVES:
After completing this activity, you will be able to:
• Explain how mummy portraits were used in ancient Egypt and Rome
• Identify visual clues and explore what they tell about a person’s identity
• Create a self-portrait that holds clues about your identity
• Discuss, reflect on, and describe your creative process when making
your self-portrait
MATERIALS NEEDED:
• High-resolution digital image of Mummy Portrait of a Woman
• High-resolution digital image of Mummy Portrait of a Man
• Drawing paper (11 x17 in. or larger) and pencil (or, digital drawing software)
• Tempera paint (optional)
• Colored pencils (optional)
• Variety of paintbrushes (optional)

ART-MAKING ACTIVITY
• Hand mirror (optional)
• Assorted Beads (optional)
• Computers with drawing and slide-making software (optional)
DIRECTIONS:
Before getting started with your project, discuss the following questions with the class or in small groups:
• Look at images of Mummy Portrait of a Woman and Mummy Portrait of a Man. How do
you think the people in these portraits wished to be remembered in death?
• How would you like to be remembered in, say, 500 years? What characteristics or details
about your personality, interests, and/or life would you want people of the future to know about you?
• What visual details could you include in your self-portrait to provide clues about yourself?
PLAN YOUR PROJECT:
1. Make a list of three to five characteristics about yourself that you would like to include in your self-portrait.

ART-MAKING ACTIVITY
2. Decidehowtocommunicatethesecharacteristicsusingvisualclues. Make notes about what details you will include in your self-portrait.
3. Planwhatmaterialsyouwilluse.Willthisbeadrawing?Painting?Will you do it digitally using drawing software?
MAKE A SELF-PORTRAIT:
1. Use large drawing paper (11” x 17” or larger) to sketch the outlines of your self-portrait using a photo, selfie, or mirror. Alternatively, you can sketch your portrait outline digitally using drawing software.
2. Usingyourchoiceofartmaterials(ordrawingsoftware),fillinanddecorateyourportrait, adding visual details that provide clues about how you would like to be remembered 500 years from now. You could use colored pencils, paint, beads, and/or any other materials that you have available.
3. Makeasmalllabeltoaccompanyyourself-portraitusingapieceofpaperoranindex card. Write a short description of the characteristics about you that you captured in your self-portrait. If you are making a digital drawing, you can make a digital slide as your label.

ART-MAKING ACTIVITY
EXPLORE MORE
• Present your self-portrait to your classmates. Discuss the details that you included in your label.
• Make a class gallery of all the self-portraits along with their accompanying labels. Then walk around to view the gallery.
• Discuss the following questions to reflect on the creative process:
• What characteristics did you choose to include in your self-portrait?
• What part of making your self-portrait did you enjoy the most? Why?

MAKE COMPARISONS
Comparing Mummy Portraits
45 MINS
Chart similarities and differences between two mummy portraits made at different times.
OBJECTIVES:
After completing this activity, you will be able to:
• Compare and contrast two related ancient works of art
• Describe the stylistic choices made by two ancient artists
• Listen to others’ interpretations of an ancient works of art
• Describe the types of details used in ancient mummy portraits that tell
you about the person
MATERIALS NEEDED:
• High-resolution digital images of Mummy Portrait of a Woman (Isidora) and a different Mummy Portrait of a Woman
• Compare and Contrast Graphic Organizer (pg. 17)
Optional: a high-resolution image of Mummy Portrait of a Man

MAKE COMPARISONS
DIRECTIONS:
1. 2.
Using a Smartboard or individual computer/tablet screens, look at high-resolution images of two mummy portraits made at different times: and Mummy Portrait of a Woman.
Using a Compare and Contrast Graphic Organizer (pg. 17) to note your findings, compare these two portraits, considering style, details, how they were made and messaging. Consider the following questions:
a. What style did the artist use to make this portrait (abstract, naturalistic, idealistic, realistic)?
b. What details does each portrait include to tell you about the person depicted? Write down nouns and adjectives to describe each detail.
c. Based on the details you noticed, what words do you imagine the person would have used to describe themselves?
In small groups, discuss your findings. Did you and your classmates have different interpretations of the portraits? If so, what were some of the differences?
EXPLORE MORE
For even more comparisons, you can add a third mummy portrait to this compare- and-contrast activity. Recommended portrait: Mummy Portrait of a Man
3.

HANDOUT
Compare and Contrast
How are the objects alike?
How are the objects different?
Object #1 _______________________
Object #2 _______________________

RELATED LINKS
• Faces of Roman Egypt online exhibition from Getty + Google Arts and Culture
• Power in a Mummy Portrait from Getty Museum
• Unlocking the Secrets of Ancient Egyptian Funerary Portraits through Modern Technology from Getty Museum
• Podcast: Getty Conservator Marie Svoboda discusses Egyptian Mummy Portraits (30 min.)
• Video on the Mummy of Herakleides that covers materials used in mummy portraits
• Video about Ancient Roman makeup for women inspired by the portrait of Isidora, from Getty Museum
• Ancient Faces: Mummy Portraits from Roman Egypt from the Metropolitan Museum of Art discusses materials used to make
the portraits
• Videos on Roman Period mummy portraits from the Fitzwilliam Museum

STANDARDS
National Core Arts Standards:
6.VA:Cr3 Reflect on whether personal artwork conveys the intended meaning and revise accordingly.
6.VA:Re7.1 Identify and interpret works of art or design that reveal how people live around the world and what they value. 6.VA:Cn11 Analyze how art reflects changing times, traditions, resources, and cultural uses.
Common Core English Language Arts Standards:
SL.6.1.A Come to discussions prepared, having read or studied required material; explicitly draw on that preparation by referring to evidence on the topic, text, or issue to probe and reflect on ideas under discussion.
SL.6.1.C Pose and respond to specific questions with elaboration and detail by making comments that contribute to the topic, text, or issue under discussion.
SL6.2 Interpret information presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how it
contributes to a topic, text, or issue under study.
SL.6.4 Present claims and findings, sequencing ideas logically and using pertinent descriptions, facts, and details to accentuate main ideas or themes; use appropriate eye contact, adequate volume, and clear pronunciation.
SL.6.5 Include multimedia components (e.g., graphics, images, music, sound) and visual displays in presentations to clarify information.

STANDARDS
RI.6.7 Integrate information presented in different media or formats (e.g., visually, quantitatively) as well as in words to develop a coherent understanding of a topic or issue.
W.6.1A Introduce claim(s) and organize the reasons and evidence clearly.
W.6.1B Support claim(s) with clear reasons and relevant evidence, using credible sources and demonstrating an understanding of the topic or text. W.6.7 Conduct short research projects to answer a question, drawing on several sources and refocusing the inquiry when appropriate.
W.6.8 Gather relevant information from multiple print and digital sources; assess the credibility of each source; and quote or paraphrase the data and conclusions of others while avoiding plagiarism and providing basic bibliographic information for sources.
California Social Studies Standards:
6.2.5 Discuss the main features of Egyptian art and architecture.

Pendant: Ship with Figures

Explore an Ancient Amulet

Guide

Middle School

Boat

Object Name: Pendant: Ship with Figures Date Created: 600-575 BCE
Place Created: Italy
Culture: Etruscan (an ancient people of Italy) Material: Amber
Maker: Unknown
Dimensions: 35 × 10 × 120 mm (1 3/8 × 3/8 × 4 3/4 in.)
Gift of Gordon McLendon
Getty Museum
This large (almost 5-inch-long) pendant was carved out of amber in about 600 BCE. It is Etruscan work, made by an artist whose homeland was north of Rome in Etruria. By this time the Etruscans had gained power over a large area of central Italy, including Rome, and an Etruscan king was in power in Rome. Amber was a beautiful material, and the pendant’s size implies a wealthy owner. This carved piece is three-dimensional and shows a wooden ship carrying seven people. It is a merchant vessel with a rounded belly to hold lots of cargo (traded objects). Such ships sailed along the coast of Italy and into the Mediterranean Sea to trade. Seafaring in small vessels was dangerous, and shipwrecks were always a risk. Merchants had to accept losses. Sailors had to understand winds, currents, and stars.
Amber
Tree resin that has become a fossil. It is semi- transparent and gem-like. Amber is used in jewelry today as it has been for thousands of years.

FEATURED ART OBJECT
Odyssey
Greek epic poem about the return of the hero Odysseus from the Trojan War, told orally for centuries and then written down by about 700 BCE. Attributed to the poet Homer.
Amulet
Object, organic or inorganic, believed to provide protection and turn away bad luck. Amulets were often worn as jewelry in antiquity.
Six sailors with round faces and short hair sit in the middle of the pendant ship. They face outward, three on each side, back-to-back. Next to them is a seventh person, perhaps a passenger or the captain. He has a long beard and hair. He sits higher up than the others, toward the stern (back) of the ship, in profile. From either side of the pendant, a viewer can see him facing three people who are looking out at us. This man leans against a rectangular cabin and seems to be holding a sack. There is one hole at each end of the ship and one hole in the middle (between two sailors’ necks) for hanging the pendant.
An amber ship may have symbolized sea travel, in general, or a merchant’s trade in amber. It may have been carved because of a successful or especially dangerous voyage. Perhaps it even showed a journey to the afterlife. Or maybe the owner just enjoyed the tales in Homer’s Odyssey. Odysseus, the hero of the Odyssey, sailed home across the Mediterranean after many dangerous adventures, bringing a cargo of gifts. Whatever the ship’s story was, the pendant was likely an amulet, providing magical support. Amber has special qualities. It reflects light and looks liquid or glows

FEATURED ART OBJECT
Amber has special qualities. It reflects light and looks liquid or glows like fire. It becomes warm when it is held. It can also float. The ancient Roman author Pliny the Elder wrote of its ability to heal and protect from harm. Magic, religion, and medicine were connected in antiquity. Supernatural help was often needed, especially during life changes and transitions (birth, marriage, travel, disease). An amulet could be intended to prevent specific harm or provide a general defense against illness and bad fortune. Amulets were carried, worn as jewelry, and hung in homes and shops. They were also placed in tombs as burial gifts. Some amulets needed a special chant or prayer to activate them. Others were made of materials, like amber, thought to have natural powers.

Amber
VOCABULARY
Tree resin that has become a fossil. It is semi-transparent and gem-like. Amber is used in jewelry today as it has been for thousands of years.
Amulet
Object, organic or inorganic, believed to provide protection and turn away bad luck. Amulets were often worn as jewelry in antiquity.
Odyssey
Greek epic poem about the return of the hero Odysseus from the Trojan War, told orally for centuries and then written down by about 700 BCE. Attributed to the
poet Homer.

TAKE A CLOSER LOOK
Closeup of Pendant: Ship with Figures

DISCUSSION
Analyze an Ancient Pendant
30
MINS OBJECTIVES:
Up close observation and discussion to form inferences and opinions about this ancient pendant made of amber.
After completing this activity, you will be able to:
● Examine and describe an ancient object
● Listen to others' perspectives about an ancient object
MATERIALS NEEDED:
• High-resolution digital images of Pendant: Ship with Figures
• Featured Art Object information for Pendant: Ship with Figures • Audio: Pendant with a Ship Carrying Sailors
Note for Teachers:
This activity works best as a lead-in activity before students read about
or research the object and focus specifically on what can be discovered through visual analysis.

DISCUSSION
DIRECTIONS:
1. Begin by looking closely at Pendant: Ship with Figures using high-resolution images.
2. Then discuss the following questions as a class or in small groups.
Discussion Questions:
● What is a pendant?
● This pendant was “carved.” What does it mean to say that something is
“carved”? How do you carve something?
● What kind of material do you think this pendant is carved from?
● Describe the details you see carved on this pendant.
● There are seven sailors shown. Can you identify them all? (You might
need to look at the object using images that show different points of view.)
● Can you point to one of the sailors who is facing forward? Can you point to
one sailor who is shown in the profile?

DISCUSSION
3. Next, read the related Featured Art Object information and/or listen to the related audio clip.
4. Discuss which details you read that you already noticed from your visual analysis of the object.
5. Identify four new pieces of information that you learned from reading about the object and/or listening to the audio clip. Make a list of the new information that you gathered.
Did You Know?
Etruscan culture was Italy’s earliest civilization (about 800-100 BCE). During the time when this pendant was created, Rome was even ruled by an Etruscan king.

ART-MAKING ACTIVITY
Design and Make an Amulet for Today
90 MINS
Explore the historical role of amulets, and then design and make an amulet for yourself or someone you care about.
OBJECTIVES:
After completing this activity, you will be able to:
• Describe the role of amulets both in the ancient world and how they might be used today
• Identify and interpret a work of art or design that reveals how people live and what they value
MATERIALS NEEDED:
• Sketch Paper
• Pencil
• Art materials to make your amulet (choose among the following options
or other similar materials)
• Drawing materials (pencils, pens, or markers) and paper
• Clay (model, air-dry or oven-dry) and optionally, clay carving or
shaping tools such as toothpicks. (Examples of clay brands: polymer: Sculpey or Fimo; oven-dry: Fimo’s Soft Clay; air-dry: Crayola Model Magic)

ART-MAKING ACTIVITY
• Found/recycled materials for a 2D or 3D assemblage • OPTIONAL: Leather cords, heavy-duty string, or ribbons
DIRECTIONS:
Introduction
1. Before getting started with your art project, discuss the following questions in class
or in small groups:
Discussion Questions:
• What is an amulet?
• What kinds of things did people need or want protection from
in ancient times?
• What kinds of things could people need or want protection
from today?
• Compare what you came up with. What are the similarities
and differences between ancient times and today when it comes to people’s need for protection?

ART-MAKING ACTIVITY
Did You Know?
Homer’s Odyssey tells of unlikely dangers facing early sailors. In addition to winds and storms, Odysseus met up with cannibals, the bird-human Sirens who sang sailors to their deaths, and Skylla, who ate Odysseus’s men with her six heads.
Plan Your Project
2. Thinkaboutthepersonyouaremakinganamuletfor.Isitfor yourself? Someone you care about?
3. Considerwhatkindsofprotectionmightbeusefulforthepersonfor whom the amulet will be made. Brainstorm and make a list of ideas. You could also think about things that might be worries or fears.
4. Narrowdownyourlistofideastooneortwo.Youwillbedesigning an amulet that might help to offer protection against these things.
5. Thinkaboutwhatyouramuletmightlooklike.Whatmaterialswill
you use? Will it have specific images? Will it be 2D or 3D?
6. Considerhowyouramuletwillbecarriedorworn.Isitabraceletor
necklace? Can it go in a pocket or bag? Will it stay at home or in a
specific place?
7. Makeabriefsketchoftheamuletthatyouimagine.

ART-MAKING ACTIVITY
Make an Amulet
8. Usevariousmaterialstocreateyouramulet,dependingonwhat’s available. Here are some suggestions:
• Keep it simple: Draw your amulet with pencils, pens, or markers, using your brief sketch as a guide.
• Sculpt your amulet using clay and your fingers, carving, or shaping tools (like toothpicks).
• Make an assemblage of found materials. It could be 2D or 3D. 9. Considerhowyouramuletwillbecarriedorworn.Doesitneedhooks
or holes added for attaching a string?
EXPLORE MORE
Write a paragraph explaining what kinds of protection the amulet you designed might offer. Describe your design decisions, the materials you used, and how this amulet might be used.

RELATED LINKS
Ancient Carved Ambers in the J. Paul Getty Museum online book from Getty Museum
Chapter 7 Pendant: Ship with Figures from Getty Museum All That Glitters: Jewelry in the Ancient Mediterranean from
Google Arts and Culture
Amber in Antiquity from World History Encyclopedia Etruscan Religion from World History Encyclopedia

STANDARDS
National Core Arts Standards:
6.VA:Cr1.1 Combine concepts collaboratively to generate innovative ideas for creating art.
6.VA:Cr2.1 Demonstrate openness in trying new ideas, materials, methods, and approaches in making works of art and design.
6.VA:Cr3 Reflect on whether personal artwork conveys the intended meaning and revise accordingly.
6.VA:Re7.1 Identify and interpret works of art or design that reveal how people live around the world and what they value.
6.VA:Cn11 Analyze how art reflects changing times, traditions, resources, and cultural uses.
7.VA:Cr2.1 Demonstrate persistence in developing skills with various materials, methods, and approaches in creating works of art or design. 7.VA:Cr3 Reflect on and explain important information about personal artwork in an artist statement or another format.
7.VA:Re7.1 Explain how the method of display, the location, and the experience of an artwork influence how it is perceived and valued. 7.VA:Cn11 Analyze how response to art is influenced by understanding the time and place in which it was created, the available resources, and cultural uses.
8.VA:Cr1.1 Document early stages of the creative process visually and/or verbally in traditional or contemporary media.
8.VA:Cr2.1 Demonstrate willingness to experiment, innovate, and take risks to pursue ideas, forms, and meanings that emerge in the process of artmaking or designing.
8.VA:Cr3 Apply relevant criteria to examine, reflect on, and plan revisions for a work of art or design in progress.
Common Core English Language Arts Standards:
SL.6.1.A Come to discussions prepared, having read or studied required material; explicitly draw on that preparation by referring to evidence on the topic, text, or issue to probe and reflect on ideas under discussion.
SL.6.1.C Pose and respond to specific questions with elaboration and detail by making comments that contribute to the topic, text, or issue under discussion.

STANDARDS
SL6.2 Interpret information presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how it contributes to a topic, text, or issue under study.
SL.6.4 Present claims and findings, sequencing ideas logically and using pertinent descriptions, facts, and details to accentuate main ideas or themes; use appropriate eye contact, adequate volume, and clear pronunciation.
SL.6.5 Include multimedia components (e.g., graphics, images, music, sound) and visual displays in presentations to clarify information. RI.6.4 Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings. RI.6.7 Integrate information presented in different media or formats (e.g., visually, quantitatively) as well as in words to develop a coherent understanding of a topic or issue.
California Social Studies Standards:
6.7 Students analyze the geographic, political, economic, religious, and social structures during the development of Rome.
6.7.3 Identify the location of and the political and geographic reasons for the growth of Roman territories and expansion of the empire, including how the empire fostered economic growth through the use of currency and trade routes.
6.7.8 Discuss the legacies of Roman Art and architecture, technology and science, literature, language, and law.

‍

Grave Stele of Pollis

&

Sarcophagus with Scenes from the Life of Achilles

Memorialization in Ancient Greece and Rome

Guide

High School

The cost of war is shown as an intimate sorrow on this marble stele, a tall, narrow gravestone for a beloved son. The memorial honors a young warrior named Pollis who died about 480–479 BCE during the historical wars between the Greeks (especially Athens) and the Persians. A funerary text is inscribed (cut) into the stone at the top. The form of the letters suggests that the stele stood near the city of Megara, an ally of Athens. Below the text the image of the young soldier is carved in low relief. The monument is broken off below his knees. Paint, now lost, would have made the letters more legible and depicted colorful details on the armor.
Object Name: Grave Stele of Pollis Date Created: about 480 BCE Place Created: Megara, Greece Culture: Greek (Megarian) Material: Parian marble
Maker: Unknown
Dimensions: 153 × 45.1 × 15.9 cm (60 1/4 × 17 3/4 × 6 1/4 in.)
Getty Museum
Stele/Stelai (pl)
Upright stone or wooden slab or pillar used to honor a person or mark a place. Often an inscribed grave marker or a boundary stone (Also called stela/stelae.)
Memorial
Structure to preserve the memory of a person, occasion, or act of importance to family, community, country, or history.
Inscribe
To write something on or to cut letters, text, or imagery into a hard medium with a sharp tool.
Relief, low
Method of carving figures or designs so that they are raised slightly above a flat background.

FEATURED ART OBJECT
The text directly addresses the viewer in Pollis’s voice: “I speak, Pollis, dear son of Asopichos, not being a coward: I myself died at the hands of the tattooers.” Greek males were described as “the son of” their fathers instead of by a last name. Pollis died at the hands of “tattooers,” probably Thracians who lived in northern Greece and were Persian allies. Their practice of tattooing made them noteworthy. It was likely Pollis’s father who called him a “dear son” and carefully recorded his bravery by including that he died “not...a coward”.
Below the text, a nude Pollis is shown as a hoplite soldier moving intently from left to right, wearing a helmet and carrying a shield, sword, and nine- foot throwing-spear, only part of which fits on the stele. Greek hoplites marched on foot against the enemy and overlapped their round shields to form a protective wall during attack. The tips of the long spears pointed up over the shields. In the carving, Pollis rests the shield on his left shoulder and holds his spear horizontally in his right hand, but his slightly crouched position suggests that he is ready for action.

FEATURED ART OBJECT
Sarcophagus with Scenes from the Life of Achilles
Sarcophagus/Sarcophagi (pl)
Stone coffin, often decorated on the sides with mythological scenes carved in relief, sometimes with the image of the deceased person or couple on the lid. Used in Imperial Roman times from the early 100s into the 400s CE.
Memorial
Structure to preserve the memory of a person, occasion, or act of importance to family, community, country, or history.
This Roman marble sarcophagus (coffin) was created around 200 CE for a wealthy husband and wife, who are depicted reclining on the lid as if they were on a couch. Burial in sarcophagi (plural) was a common Roman funeral practice from about 150 to 250 CE. Since these coffins were meant to be seen and often included images of the deceased, they also functioned as memorials. The couple’s faces are unfinished, perhaps because the sarcophagus was pre-made and had not yet been purchased. Once sold, the buyer would have requested the addition of specific facial features to represent the deceased.
Object Name: Sarcophagus with Scenes from the Life of Achilles Date Created: 180–220 CE
Place Created: Athens, Greece Culture: Roman Material: Marble Maker: Unknown
Dimensions: 134 × 211 × 147 cm (52 3/4 × 83 1/16 × 57 7/8 in.) Getty Museum

FEATURED ART OBJECT
Relief, high
Method of carving figures or designs so they are raised high above a flat background, often by half or more of their form in three dimensions.
Trojan War
Legendary war between the Greeks and Trojans that started with the abduction of Helen, the most beautiful (Greek) woman in the world, by the Trojan prince Paris.
Iliad
Greek epic poem about the Trojan War and the hero Achilles, told orally for centuries and then written down by about 700 BCE. Attributed to the poet Homer.
The decoration on the body of the coffin is carved in high relief, and many figures are almost fully three-dimensional. The four sides of the sarcophagus are decorated with mythological scenes from the life of Achilles, the Greek warrior made famous in the tales of the Trojan War recorded in Homer’s Iliad. The adventures of an ancient war hero don’t seem to relate to the lives of a rich Roman married couple, but some tales of gods and heroes were viewed as symbols of overcoming difficulties, even death. They could also show off a person’s knowledge of famous authors. These stone coffins were produced to order or pre-made and decorated with popular mythological scenes.
● The front side of the sarcophagus (the side from which the couple looks out at us) is carved with a detailed scene of Achilles dragging the corpse of the Trojan hero Hector behind his chariot. (This was a shockingly disrespectful act of vengeance, but Achilles eventually returned Hector’s body to his father for burial.)

Centaur
Creature formed from the upper body of a human merged with the body of a horse (replacing the horse’s head and neck).
Odyssey
Greek epic poem about the return of the hero Odysseus from the Trojan War, told orally for centuries and then written down by about 700 BCE. Attributed to the poet Homer.
● The unfinished back of the sarcophagus shows a battle between Greeks and centaurs, mythological horse-humans whose wise elder, Chiron, was Achilles’s tutor.
● One short end of the sarcophagus shows Achilles arming himself for war.
● The other short end shows Odysseus, the clever hero of Homer’s Odyssey, discovering Achilles hiding among the daughters of King Lycomedes. Achilles’s goddess mother Thetis wanted to keep him from going to war, where he was prophesied to die but win lasting glory. She sent him to hide disguised as a young woman in the court of the distant king. Odysseus found Achilles and convinced him to join the Greeks in their war against Troy. Although Achilles did die in that battle, his glory endured and his story was preserved as courageous inspiration on this sarcophagus, as well as many other objects.
FEATURED ART OBJECT

Centaur
Relief, Low
Method of carving figures or designs so that they are raised slightly above a flat background.
Sarcophagus/Sarcophagi (pl)
Stone coffin, often decorated on the sides with mythological scenes carved in relief, sometimes with the image of the deceased person or couple on the lid. Used in Imperial Roman times from the early 100s into the 400s CE.
Stele/Stelai (pl)
Upright stone or wooden slab or pillar used to honor a person or mark a place. Often an inscribed grave marker or a boundary stone. (Also called stela/stelae.)
Trojan War
Legendary war between the Greeks and Trojans that started with the abduction of Helen, the most beautiful (Greek) woman in the world, by the Trojan prince Paris.
VOCABULARY
Creature formed from the upper body of a human merged with the body of a horse (replacing the horse’s head and neck).
Iliad
Greek epic poem about the Trojan War and the hero Achilles, told orally for centuries and then written down by about 700 BCE. Attributed to the poet Homer.
Inscribe
To write something on or to cut letters, text, or imagery into a hard medium with a sharp tool.
Memorial
Structure to preserve the memory of a person, occasion, or act of importance to family, community, country, or history.
Odyssey
Greek epic poem about the return of the hero Odysseus from the Trojan War, told orally for centuries and then written down by about 700 BCE. Attributed to the poet Homer.
Relief, High
Method of carving figures or designs so they are raised high above a flat background, often by half or more of their form in three dimensions.

TAKE A CLOSER LOOK
Closeup of Grave Stele of Pollis Closeup of Sarcophagus with Scenes from the Life of Achilles

45 - 90 MINS with optional “Explore More” Activity
Explore how people and events are memorialized today and compare them with examples of memorialization in Ancient Greece and Rome.
OBJECTIVES:
After completing this activity, you will be able to:
● Describe an ancient object
● Give examples of how people and events were memorialized in Ancient
Greece and Rome
● Discuss ways that people and events are memorialized today, and compare
with examples from Ancient Greece and Rome
MATERIALS NEEDED:
● High-resolution digital images Grave Stele of Pollis and Sarcophagus with Scenes from the Life of Achilles
● Featured Art Object information for: Grave Stele of Pollis
● Featured Art Object information for: Sarcophagus with Scenes from the Life of Achilles
READING & DISCUSSION
Contemporary Connections: Comparing Memorialization Then and Now
Note for Teachers:
This activity works best as a lead-in activity before students read about
or research the object and focus specifically on what can be discovered through visual analysis.

READING & DISCUSSION
● Sticky notes or paper with tape
● OPTIONAL: Audio Clips for Grave Stele of Pollis and Sarcophagus with Scenes from the Life of Achilles
OPTIONAL RESOURCE(S):
Audio Clips for Grave Stele of Pollis
Audio Clips for Sarcophagus with Scenes from the Life of Achilles
DIRECTIONS:
Note for Teachers:
In lieu of having students read the object descriptions, teachers may also share this information directly with students prior to the discussion.
1.
2.
Read the Featured Art Object Information for Grave Stele of Pollis and Sarcophagus with Scenes from the Life of Achilles. Optional: Listen to the audio clips about these objects instead of, or in addition to, reading the Featured Art Object Information.
Then, discuss the following questions as a class or in small groups.
Optional: If working in groups or short on time, rather than focusing on both objects, select just one, read the single object description and answer the following discussion questions for each specific object:

READING & DISCUSSION
Grave Stele of Pollis
● Who was being memorialized by the Grave Stele of Pollis?
● What does the inscription tell us about the person being memorialized?
● What can we infer about Pollis from how he is represented in the carving?
● Considering both the inscription and the figure carving, what was the stele communicating about the person being memorialized?
● What does this stele suggest about how people were memorialized at the time it was made?
Sarcophagus with scenes from the Life of Achilles
● What stories are told by the carvings on each side of the sarcophagus?
● How do these stories relate to the idea of memorialization? Why would they have been put on a sarcophagus?
● What do we know and not know about who/what is being memorialized? Explain.
● What does this sarcophagus tell us about memorializing practices when it was made?

READING & DISCUSSION
3. Next,considerhowpeopleandeventsarememorializedtodaybydiscussingthefollowing questions in small groups:
Discussion Questions:
● How does your family/culture honor loved ones who are no longer with us?
● What do you think is the best way to remember someone who has passed away?
● How are important historical events memorialized today? What examples can you
think of?
● How would you compare the examples of memorialization in ancient times with
the examples from today? What are the similarities and differences? Write each similarity and difference you think of on individual sticky notes or small pieces of paper and add them to a classroom idea board.

READING & DISCUSSION
4. To wrap up, do a “gallery walk” of the class’s ideas posted on the board to see what similarities and differences are between the other groups' ideas.
EXPLORE MORE
Research contemporary examples of memorials or find examples from your family or community. Create a class slideshow or gallery to showcase the prevalence and variety of memorials.
Did You Know?
The word sarcophagus means ‘flesh eater’ in Greek.

RELATED LINKS
Grave Stele of Pollis:
● Getty Villa Teacher Guide: Gravestone of Pollis
● Getty Villa Student Guide: Gravestone of Pollis
Sarcophagus with Scenes from the Life of Achilles:
Primary Resources for Narratives on Sarcophagus:
1). From Homer’s Iliad:
Hektor drags Achilles's corpse (Iliad XXII: 367-404)
Achilles drags Hector’s corpse in the dust (BkXXII:367-404)
“He pierced the tendons of both feet behind from heel to ankle, and through them threaded ox-hide thongs, tying them to his chariot, leaving the corpse’s head to trail along the ground. Then lifting the glorious armour aboard, he mounted and touched the horses with his whip, and they eagerly leapt forward. Dragged behind, Hector’s corpse raised a cloud of dust, while his outspread hair flowed, black, on either side.”

RELATED LINKS
2). Related section from Prophecies about Achilles (Pseudo-Apollodorus, Biblotheca 3.174):
"When Akhilleus (Achilles) was nine, [the seer] Khalkas (Calchas) announced that Troy could not be captured without him. Thetis, who had foreknowledge that he would have to die if he went to war, concealed him in women's dress and handed him over to Lykomedes (Lycomedes) as a girl."

STANDARDS
National Core Arts Standards:
Prof.VA:Re7.1 Hypothesize ways in which art influences perception and understanding of human experiences.
Prof.VA:Re7.2 Analyze how one’s understanding of the world is affected by experiencing visual imagery. Prof.VA:Re8 Interpret an artwork or collection of works, supported by relevant and sufficient evidence found
in the work and its various contexts.
Prof.VA.Cn11 Describe how knowledge of culture, traditions, and history may influence personal responses to art.
Common Core English Language Arts Standards:
9-10.SL.1 Initiate and participate effectively in a range of collaborative discussions (one-on-one. in groups, and teacher-led) with diverse partners on grades 9–10 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.
9-10.SL.5 Make strategic use of digital media (e.g., textual, graphical, audio, visual, and interactive elements) in presentations to enhance understanding of findings, reasoning, and evidence and to add interest.
9-10.RH.2 Determine the central ideas or information of a primary or secondary source; provide an accurate summary of how key events or ideas develop over the course of the text.
California Social Studies Standards:
HSS-10.1 Standard: Students relate the moral and ethical principles in ancient Greek and Roman philosophy, in Judaism, and in Christianity to the development of Western political thought.

‍

Hand Mirror Decorated with the Head of Medusa

Explore Medusa in Ancient Art

Guide

Middle School

Stories of the fearsome Gorgons are some of the earliest Greek myths. The back of this bronze mirror is decorated with the face of the most famous Gorgon, Medusa. Based on archaeological finds and art, we think the owner of this mirror was a woman. Medusa would have guarded her as the owner was looking at her reflection.
The mirror was made around 500 BCE in southern Italy, where Greeks founded colonies. There are many tales of the Gorgons. Some stories, including in Homer’s Iliad, say there was only one Gorgon. Some tell of
Iliad
Greek epic poem about the Trojan War and the hero Achilles, told orally for centuries and then written down by about 700 BCE. Attributed to the poet Homer.

FEATURED ART OBJECT
Sickle
Curved blade for harvesting grain, used creatively by heroes in Greek myth (for example, to sever the heads of the Hydra and Medusa).
Gorgoneion
Severed head of the Gorgon Medusa (or an image of it) with protective power.
Aegis
Goatskin breastplate of Zeus and, more commonly, Athena. The gorgoneion (severed head) of Medusa lies in the center, often surrounded by snake scales. The aegis is sometimes fringed with snakes.
three Gorgon sisters born with wings, snakes for hair, and terrifying teeth. Other later versions say Medusa was beautiful but was given snaky hair as a punishment. In most stories, Gorgon heads were so awful that the sight of them could kill. In the most familiar story today, looking into Medusa’s eyes turned people to stone. But in fact, just seeing her face was enough!
Medusa was the only human Gorgon, so she could be killed. The hero Perseus cut off her head with a sickle, a curved blade, while she was sleeping. He avoided looking at her directly by watching her reflection in his metal shield. Her severed head, called a gorgoneion, could turn away evil spirits, curses, and ill wishes. Zeus attached the gorgoneion to his goatskin breastplate, the aegis. He used it for protection while fighting to become the chief god on Mount Olympus. His daughter Athena borrowed the aegis, and it

FEATURED ART OBJECT
Attribute
Object, clothing, symbol, or physical characteristic associated with a specific person, hero, or god. An attribute can identify a figure in an artwork.
became one of her most famous attributes (symbols) in ancient art.
The Gorgon on the mirror is the earlier of two main types of Gorgons in art, a
snaky-haired monster. She has glaring eyes, a ferocious grin, and a big tongue hanging out over a short beard. Some other early Gorgons have big tusks and wings. In art from the 400s BCE on, Medusa most often had a human face. But because she offended Athena, the goddess transformed her hair into frightful snakes. (In one explanation, Medusa dared to meet Poseidon in Athena’s temple. In another, she compared her beauty to Athena’s.) Like the monstrous type of Gorgon, this Medusa appears in ancient art as a gorgoneion with snaky hair. Tiny wings grow from her forehead, and snakes are knotted around her neck.

FEATURED ART OBJECT
Cast
To make in a mold from liquid metal. A cast object can be hollow or solid.
Anneal
To heat metal to make it soft and pliable.
Repoussé
Technique of raising the outline of a design on metal by repeatedly heating and softening the metal and pushing the desired shapes into it from the back with a blunt tool.
Chasing
Technique of adding definition and details to an image or design on metal from the front using blunt and sharp tools.
Making the Medusa Mirror
The mirror was made in two pieces. The short handle was once inserted into another material. The cast bronze disk (the mirror) reflected the viewer from its polished surface. The image of Medusa was attached separately on the back. An artisan cut a circle of sheet bronze and sketched the outline and inner details of Medusa’s face onto it. Then he (usually he) annealed (heated) the bronze in sections until it softened. The Gorgon’s face was formed by slowly pushing up the soft bronze sheet from the back with a small blunt tool (this technique is called repoussé). Then, using fine tools, blunt and sharp, the artisan added details to the front (this technique is called chasing). Medusa’s eyes would have been added in another material, making them more dramatic. Areas of the Gorgon’s face are shiny, but most of the bronze has become a greenish color over time because of the reaction of the metal to moisture.

VOCABULARY
Aegis
Goatskin breastplate of Zeus and, more commonly, Athena. The gorgoneion (severed head) of Medusa lies in the center, often surrounded by snake scales. The aegis is sometimes fringed with snakes.
Anneal
To heat metal to make it soft and pliable.
Attribute
Object, clothing, symbol, or physical characteristic associated with a specific person, hero, or god. An attribute can identify a figure in an artwork.
Cast
To make in a mold from liquid metal. A cast object can be hollow or solid.
Chasing
Technique of adding definition and details to an image or design on metal from the front using blunt and sharp tools.
Gorgoneion
Severed head of the Gorgon Medusa (or an image of it) with protective power.
Iliad
Greek epic poem about the Trojan War and the hero Achilles, told orally for centuries and then written down by about 700 BCE. Attributed to the poet Homer.
Repoussé
Technique of raising the outline of a design on metal by repeatedly heating and softening the metal and pushing the desired shapes into it from the back with a blunt tool.
Sickle
Curved blade for harvesting grain, used creatively by heroes in Greek myth (for example, to sever the heads of the Hydra and Medusa).

TAKE A CLOSER LOOK
Closeup of Medusa Mirror

VISUAL ANALYSIS & DISCUSSION
Close Look at a Medusa Mirror
Up close looking and discussion to find out more about this mirror and the subject decorating it.
30
MINS OBJECTIVES:
Note for Teachers:
Steps 1 and 2 focus on visual
After completing this activity, you will be able to:
• Examine and describe an ancient work of art
• Listen to others’ perspectives about an ancient work of art
MATERIALS NEEDED:
• High-resolution image of Medusa Mirror
• Featured Art Object information for Medusa
Mirror
DIRECTIONS:
1. Begin by looking closely at Medusa Mirror using high-resolution images.
2. Then discuss the following questions as a class or in small groups.
analysis and therefore are
zzz
most effective when used as a lead-in activity before students read about or research the focus object.

VISUAL ANALYSIS & DISCUSSION
Discussion Questions:
• Describe the details of both the mirror and the figure on the back of the mirror. How would you describe the mirror and the figure decorating it?
• This figure might look familiar to you—it’s Medusa, a character from Greek mythology. What do you know about her (if anything)—either from the past or in stories from today? What clues might tell you it’s Medusa?
• What do you imagine could be reasons why the mirror maker put an image of Medusa on the back of a mirror?
3. Finally, read the related Featured Art Object information. Discuss which details you had already noticed from your visual analysis of the object.
4. Identify and write down four new pieces of information that you learned from reading about the object.

MAKING COMPARISONS
Comparing Medusa across Works of Art
45 MINS
Discover the variety of ways that artists have depicted Medusa by exploring several works of art.
OBJECTIVES:
After completing this activity, you will be able to:
• Compare and contrast several related works of art
• Describe the different ways that artists have depicted Medusa
• Understand and describe the mythology of Medusa
MATERIALS NEEDED:
• High-resolution image of Medusa Mirror
• Featured Art Object information description for Medusa
Mirror
• Video: Medusa Mirror
• High-resolution images of the following items:
• Roundel with the Head of Medusa
• Mosaic Floor with Head of Medusa
Did You Know?
Scientists like myths, too! “Medusa” is a type of jellyfish during a phase of its life cycle. Its rounded body has stinging tentacles — obviously, deadly snakes!

MAKING COMPARISONS
• Akroterion with Medusa
• Cameo Gem with Medusa
• Medusa
• Graphic organizer (pg. 12)
DIRECTIONS:
1. 2. 3.
Begin by watching the Medusa video. To find out more, read the related Featured Art Object information.
As a class or in small groups, discuss the question at the end of the video:
What lessons might Medusa teach us?
Next, explore how different artists have told the story of Medusa through their art. Look at three or more different works of art featuring Medusa. Start with the featured object, Medusa Mirror. Then, select at least two more from the following list:
• Roundel with the Head of Medusa
• Mosaic Floor with Head of Medusa
• Akroterion with Medusa
• Cameo Gem with Medusa
• Medusa

MAKING COMPARISONS
4. Use the graphic organizer on page 12 to note your findings. Compare these depictions of Medusa, considering their details and messages. Think about the following questions:
• What details did the artist use to tell us about Medusa?
• What do those details say about this character?
• What are the similarities and differences?
In small groups, discuss your findings, focusing on the similarities and differences
across the objects you selected.
6. As a group, identify an image or description of Medusa from contemporary culture.
Discuss the similarities and differences between how Medusa is represented today versus in the objects from the past.

HANDOUT
Object #1 _______________________
Compare and Contrast
Object #2 _______________________
How are the objects alike?
Object #3 _______________________
How are the objects different?

RELATED LINKS
More about Featured Art Object
Video on Remaking a Monster: Medusa from Antiquity to Today from Getty Museum
More about Medusa and Gorgons
Gorgones and Medousa from Theoi Project
Dangerous Beauty: Medusa in Classical Art online book from Metropolitan Museum of Art Dangerous Beauty: Medusa in Classical Art Overview of exhibition from Metropolitan Museum of Art

STANDARDS
National Core Arts Standards:
6.VA:Cr1.1 Combine concepts collaboratively to generate innovative ideas for creating art.
6.VA:Cr2.1 Demonstrate openness in trying new ideas, materials, methods, and approaches in making works of art and design. 6.VA:Cr3 Reflect on whether personal artwork conveys the intended meaning and revise accordingly.
6.VA:Re7.1 Identify and interpret works of art or design that reveal how people live around the world and what they value. 6.VA:Cn11 Analyze how art reflects changing times, traditions, resources, and cultural uses.
Common Core English Language Arts Standards:
SL.6.1.A Come to discussions prepared, having read or studied required material; explicitly draw on that preparation by referring to evidence on the topic, text, or issue to probe and reflect on ideas under discussion.
SL.6.1.C Pose and respond to specific questions with elaboration and detail by making comments that contribute to the topic, text, or issue under discussion.
SL6.2 Interpret information presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how it contributes to a topic, text, or issue under study.
SL.6.4 Present claims and findings, sequencing ideas logically and using pertinent descriptions, facts, and details to accentuate main ideas or themes; use appropriate eye contact, adequate volume, and clear pronunciation.

STANDARDS
SL.6.5 Include multimedia components (e.g., graphics, images, music, sound) and visual displays in presentations to clarify information. R1.6.1 Cite textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
RI.6.4 Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings. W.6.7 Conduct short research projects to answer a question, drawing on several sources and refocusing the inquiry when appropriate.
California Social Studies Standards:
6.4.4 Explain the significance of Greek mythology to the everyday life of people in the region.
Historical Interpretation, Grades 6-8:
3. Students explain the sources of historical continuity and how the combination of ideas and events explains the emergence of new patterns.

‍

Statue of Hercules (Lansdowne Herakles)

Hercules in Ancient Art

Guide

Middle School

FEATURED ART OBJECT
Contrapposto
(“opposite” in Italian)
Pose of a standing figure with most of the weight on one leg and the other bent. This causes hips, shoulders, and head to shift in order to balance the body. One arm is often higher and one lower.
Attribute
Object, clothing, symbol, or physical characteristic associated with a specific person, hero, or god. An attribute can identify a figure in an artwork.
Hercules has a smooth, expressionless face that doesn’t show signs of age. His body is toned and muscled. The hero stands in a contrapposto pose with one knee slightly bent, causing his hips and shoulders to shift direction. The pose makes him look more active and natural than if both legs were straight. His identifying attributes, a club and lion skin, tell us who he is. The club rests on his left shoulder and the lion skin dangles from his right hand. Killing the lion was the first of his famous Twelve Labors, dangerous tasks the hero was forced to carry out. The lion was terrorizing the city of Nemea. Human weapons could not pierce its skin, so no one could kill it. But Hercules was so strong that he strangled the animal. He skinned it with its own claw and wore the skin as a cloak.
Why is Hercules naked? Greeks exercised and competed in athletic competitions naked. Even they were not totally sure how this practice started. Perhaps it made everyone equal aside from their natural abilities. In art, nudity came to symbolize excellence of body and mind.
2

FEATURED ART OBJECT
Did You Know?
One of the famous Twelve Labors does not sound very heroic! Hercules had to clean out an impossible amount of cattle manure in one day from the many stables of King Augeas. The hero was so strong that he diverted two rivers to do the dirty work for him.
In the sixth and fifth centuries BCE, Greek artists developed a type of ideal male figure. Images of bodies and faces were standardized to reduce individual differences and flaws. Men and male gods were shown without clothes, displaying their highly toned muscles. Their faces and features were ageless and unwrinkled. Because it was hard to identify individuals, artists identified them by symbols they wore or carried (like the lion skin).
Damage and Repair
Marble is a hard and strong material, but it can still break. Stone sculptors often added a tree trunk, animal, or object (like Hercules’s lion skin) next to a figure’s legs. This helped to stabilize the sculpture, but did not prevent all harm. At some point, this statue of Hercules fell forward, damaging his face, left side, right arm and leg, club, and more.
3

FEATURED ART OBJECT
Pentelic
From Mount Pentelicus, near Athens. An adjective that mostly refers to the beautiful white Greek marble in its quarries.
Carrara
Region in Italy north of Rome famous for a hard white marble very popular with Romans for sculpture.
Conservator (of antiquities)
Professional responsible for preserving ancient objects and materials. Conservators usually have a general knowledge of chemistry and of ancient art-making practices and are often specialists in one material.
Among many other
responsibilities, they conduct technical and historical research and oversee preventive care
such as climate control.
Hercules was originally carved from hard Athenian Pentelic marble. In the 1800s, repairs to the figure’s damaged areas were made with Italian Carrara marble. The two marbles have worn differently over time. If you look closely you can see that the Carrara marble has visible grains – like grains of sugar. Other repairs are difficult for anyone to notice who is not an expert. The hero’s head, face, and shoulders were re-carved to disguise damage. Hercules now has a somewhat smaller head and smaller ears, reworked eyes, and a new nose. Restoring missing parts or recarving a damaged statue used to be common. Buyers thought a complete statue was more attractive and valuable. But today, conservators do not generally invent body parts or make permanent changes.
4

Attribute
Contrapposto
(”opposite” in Italian): Pose of a standing figure with most of the weight on one leg and the other bent. This causes hips, shoulders, and head to shift in order to balance the body. One arm is often higher and one lower.
Pentelic
From Mount Pentelicus, near Athens. An adjective that mostly refers to the beautiful white Greek marble marble in its quarries.
VOCABULARY
Object, clothing, symbol, or physical characteristic associated with a specific person, hero, or god. An attribute can identify a figure in an artwork.
Carrara
Region in Italy north of Rome famous for a hard white marble very popular with Romans for sculpture.
Conservator (of antiquities)
Professional responsible for preserving ancient objects and materials. Conservators usually have a general knowledge of chemistry and of ancient art-making practices and are often specialists in one material. Among many other responsibilities, they conduct technical and historical research and oversee preventive care such as climate control.
5

TAKE A CLOSER LOOK
Closeup of Statue of Hercules (Lansdowne Herakles) Closeup of Hercules’s (Herakles’s) Lion Skin
6

DISCUSS & RESEARCH
Using Attributes to Identify Stories in Art
Use close observation and discussion to find out more about this statue and the story it tells, then research other objects that share related stories.
After completing this activity, you will be able to:
45
MINS OBJECTIVES:
• • •
Examine and describe an ancient work of art
Listen to others’ perspectives about an ancient work of art
Understand how attributes tell us about an ancient mythological character
MATERIALS NEEDED:
Note for Teachers:
This activity works best if begun as a lead-in activity before students read about or research the object, focusing specifically on what can be discovered through visual analysis.
• • • •
High-resolution image of Statue of Hercules
Featured Art Object information for Statue of Hercules Resource: The Twelve Labors of Herakles
Audio: Statue of Hercules
7

DISCUSS & RESEARCH
DIRECTIONS:
1. Begin by looking closely at Statue of Hercules using a high-resolution image. Make sure to zoom in and out to notice small details. Then discuss the following questions as a class or in small groups.
Discussion Questions:
• Describe the figure and the details you see.
• What is the figure holding?
• How would you describe the figure’s pose?
• What visual clues help you to identify this statue as Hercules?
What might you already know about him or his story?
8

DISCUSS & RESEARCH
2. Read related Featured Art Object information and/or listen to the audio about the statue.
3. Identify details you read or listened to and had already noticed from your visual analysis of the object.
4. Make a list of any details that you read or listened to that you may have missed in your visual analysis of the object.
5. Next, read The Twelve Labors of Herakles (pgs. 10–13).
6. Go to the Getty Museum’s collection search page (or use your
search engine) and hunt for works of art that depict Herakles performing another of his Twelve Labors. Compare what you found with your classmates and see how many of the Twelve Labors you found represented in art. HINT: Try searching both the Greek and Roman terms, “Herakles” and “Hercules.”
9

HANDOUT
The Twelve Labors of Herakles
Herakles was a universal hero, celebrated by the Greeks, the Etruscans (who called him Hercle), and the Romans (who knew him as Hercules). He was the son of Zeus (king of the gods) and a mortal woman, Alkmene. Ironically, his name means “the glory” (kleos) of Hera (queen of the gods), his jealous stepmother, who drove him mad and caused him to kill his wife and children. As penance, the hero was bound to serve King Eurystheus of Mycenae and Tiryns. The king sent him on a series of difficult tasks, or labors, twelve of which became standardized in art and literature.
1. The Lion of Nemea
2. The Hydra of Lerna
3. The Hind of Keryneia
The Hind of Keryneia was sacred to Artemis (goddess of the hunt and wild animals). Herakles was ordered to bring the deer, or its golden horn, back to Eurystheus without harming it.
The Lion of Nemea had an impervious hide and could not be killed with traditional weapons. Herakles strangled it and then used its own claw to skin it. Afterward he wore its pelt as a talisman.
The Hydra of Lerna was a serpentlike, multiheaded monster. Every time a head was cut off, two more grew in its place. With the aid of his nephew
Iolaos, Herakles killed the beast by cauterizing each wounded neck with a torch.
10

HANDOUT
The Twelve Labors of Herakles
4. The Boar of Mount Erymanthos
5. The Birds of Lake Stymphalos
6. The Stables of King Augeas
The Boar of Mount Erymanthos, the largest and fiercest of its kind,was ravaging the surrounding land. Herakles caught it and returned it to King Eurystheus, who was so frightened that he hid in a large storage jar.
The Birds of Lake Stymphalos created a great disturbance. Herakles caused them to take flight with bronze cas- tanets that were made by Hephaistos (god of metalworking) and given to him by his patron goddess, Athena. He then killed the birds.
The Stables of King Augeas were filthy after many years of neglect, and Herakles had to clean them in a single day. He ingeniously washed away the accumulated dung by shifting the course of a nearby river.
11

HANDOUT
The Twelve Labors of Herakles
7. The Bull of Crete
8. The Man-Eating Mares of Diomedes
9. The Girdle of Hippolyta
The Golden Apples of the Hesperides grew in a garden at the end of the world. They were tended by maidens and guarded by the serpent Ladon. Herakles had to fetch the apples to gain immortality.
The Man-Eating Mares of Diomedes of Thrace were a menace. Herakles fed them with their master, Diomedes, before bringing them back to Eurystheus.
The Girdle of Hippolyta, queen of the Amazons (a race of women warriors), had to be retrieved in one version of the tale, Herakles charmed the queen into surrendering her belt; more
commonly, he fought her for it.
12

HANDOUT
The Twelve Labors of Herakles
10. The Cattle of Geryon
11. Cerberus
12. The Golden Apples of the Hesperides
The Golden Apples of the Hesperides grew in a garden at the end of the world. They were tended by maidens and guarded by the serpent Ladon. Herakles had to fetch the apples to gain immortality.
The Cattle of Geryon—a fearsome, triple-bodied warrior—had to be captured. To accomplish this, Herakles killed not only Geryon but also his herdsman and dog.
Cerberus was the triple-headed guard dog of the Underworld. Herakles negotiated with Hades (god of the Underworld), who consented to loan the monster, provided that Herakles did not use weapons to master it.
13

MOVEMENT & DISCUSSON
Exploring Contrapposto
30 MINS
Learn about contrapposto and how it was used in an ancient statue.
OBJECTIVES:
After completing this activity, you will be able to:
• Examine and describe an ancient work of art
• Understand contrapposto and show an example
MATERIALS NEEDED:
• High-resolution digital image of Statue of Hercules
• High-resolution digital image of Votive Statuette of a Male Youth
DIRECTIONS:
1. Look at images of the Statue of Hercules and Votive Statuette of a Male Youth. Discuss the differences in their poses.
14

MOVEMENT & DISCUSSION
2.
Stand in poses that mimic each of these statues. Hold each pose for at least 30 seconds. Then discuss the following questions:
3.
• •
• •
• •
How did it feel to stand in each of these poses?
In each pose, where was the weight of your body resting? How could you tell?
Which pose felt most natural? Why?
When you looked around the room and saw your classmates in these poses, which
pose appeared most relaxed? Why?
Read the definition of contrapposto. In small groups or as a class, discuss the following questions:
Which of these sculptures uses a contrapposto pose?
What words would you use to describe a contrapposto pose?
15

RELATED LINKS
• The Twelve Labors of Herakles
• Perseus Project, Tufts University: Hercules’s First Labor: the Nemean Lion
16

STANDARDS
National Core Arts Standards:
6.VA:Re7.1 Identify and interpret works of art or design that reveal how people live around the world and what they value.
6.VA:Cn11 Analyze how art reflects changing times, traditions, resources, and cultural uses.
6.VA:Re8.1 Interpret an artwork or collection of works, supported by relevant and sufficient evidence found in the work and its various contexts.
Common Core English Language Arts Standards
SL.6.1.A Come to discussions prepared, having read or studied required material; explicitly draw on that preparation by referring to evidence on the topic, text, or issue to probe and reflect on ideas under discussion.
SL.6.1.C Pose and respond to specific questions with elaboration and detail by making comments that contribute to the topic, text, or issue under discussion.
SL6.2 Interpret information presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how it contributes to a topic, text, or issue under study.
SL.6.4 Present claims and findings, sequencing ideas logically and using pertinent descriptions, facts, and details to accentuate main ideas or themes; use appropriate eye contact, adequate volume, and clear pronunciation.
SL.6.5 Include multimedia components (e.g., graphics, images, music, sound) and visual displays in presentations to clarify information.
17

STANDARDS
RI.6.4 Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings. RI.6.7 Integrate information presented in different media or formats (e.g., visually, quantitatively) as well as in words to develop a coherent understanding of a topic or issue.
California Social Studies Standards:
HSS-6.4 Students analyze the geographic, political, economic, religious, and social structures during the early civilizations of ancient Greece.

‍

Stag Rhyton

Exploring Functional Art from the Ancient World and Today

Guide

Middle School

Animal

Object Name: Stag Rhyton
Date Created: 100-1 BCE
Place Created: Eastern Seleucid Empire (west Asia) Culture: Near Eastern (Parthian/ancient Iran) Material: Gilt silver, garnet, glass
Maker: Unknown
Dimensions: 27.5 × 46 × 12.7 cm
(10 13/16 × 18 1/8 × 5in.)
Getty Museum
This silver horn decorated with a stag is called a rhyton, a luxury wine vessel. Its name comes from the ancient Greek word for “pour” or “flow.” Wine was poured from the rhyton into a cup from a tiny spout (missing) between the animal’s front legs. This added air to the wine to improve it. Sometimes drinkers also held the rhyton up high and poured the wine directly into their mouths. (That required practice and very good aim!) This rhyton is from Parthia, a region in modern Iran, and it was made sometime between 50 BCE and 50 CE.
Ancient Iran was overrun by many different cultures over time. Persians were in control in the 330s BCE when Alexander the Great conquered the area.
Rhyton
Horn-shaped drinking vessel for pouring wine either into a cup to aerate it (add air) or directly into the mouth.

Functional Art
Object intended for a purpose but decorated with elements unnecessary for its function and intended to be aesthetically pleasing or thought-provoking.
Gild
To apply a thin layer of gold foil or liquid gold (gilt) to create the look of solid gold.
Incise
To press or cut into a surface (stone, metal, clay, wood) with a sharp tool to write text or create fine curving and linear details.
Zoomorphic
Including images of one or more animals or pars of animals within an artwork or functional object. From ancient Greek words for “animal” and “transform.”
After his death, his Greek generals took over. Then the local Parthians slowly expanded their own empire in Iran and beyond. These different peoples borrowed one another’s social and artistic practices. Persians, Greeks, and Parthians shared a custom of eating together at banquets to create community. Rhyta (plural) like this one were used in rituals and given as gifts at dinners by the Parthian king and other important people.
Although they are called “horns,” they could be made of animals’ horns and tusks. Metal drinking vessels mimic these. Horns became functional art when decorated. This rhyton is gilded (coated with gold) and has floral decoration and finely incised (cut) details. Some horns, like this one, were also zoomorphic, with animal foreparts (front legs, chest, and head) added to the narrow end. The animals chosen to decorate rhyta were considered noble or brave, such as lions, stags, and mythical beasts. Guests at banquets would have admired the craftsmanship and fine details on this rhyton, such as the veins on the stag’s snout and the curling leaves and flowers on the horn.
FEATURED ART OBJECT

Functional Art
VOCABULARY
Object intended for a purpose but decorated with elements unnecessary for its function and intended to be aesthetically pleasing or thought-provoking.
Gild
To apply a thin layer of gold foil or liquid gold (gilt) to create the look of solid gold.
Incise
To press or cut into a surface (stone, metal, clay, wood) with a sharp tool to write text or create fine curving and linear details.
Rhyton
Horn-shaped drinking vessel for pouring wine either into a cup to aerate it (add air) or directly into the mouth.
Zoomorphism
Including images of one or more animals or parts of animals within an artwork or functional object. From ancient Greek words for “animal” and “transform.”

TAKE A CLOSER LOOK
Closeup of front view Stag Rhyton Closeup of back view of Stag Rhyton

TAKE A CLOSER LOOK
Closeup of left profile of Stag Rhyton
Closeup of right profile of Stag Rhyton

ANALYZE & DISCUSS
Analyze an Ancient Rhyton through Close Looking
Look closely at an example of ancient functional art, analyze it, and make informed guesses about what you observe.
45
MINS OBJECTIVES:
After completing this activity, you will be able to:
• Examine and describe an ancient object
• Listen to others’ perspectives about an ancient object
MATERIALS NEEDED:
• High-resolution digital images of Stag Rhyton
• Featured Art Object information for Stag Rhyton
• Audio: Partian Rhyta
• Video: Creating Silver Drinking Horns from Ancient Persia to the Present
from time stamp 38:45–39:35
Note For Teachers:
This activity works best as a lead-in activity before students read about
or research the object and focus specifically on what can be discovered through visual analysis.

ANALYZE & DISCUSS
DIRECTIONS:
1. Begin by looking closely at Stag Rhyton using high-resolution images that show the object from different points of view. Make sure to zoom in and out to notice small details and to look at the object from all points of view available.
2. Then discuss the following questions as a class or in small groups.
Discussion Questions:
• What do you see? Describe the object.
• How would you describe the surface of the object? • How do you think people used this object? Why?
3. Read the related Featured Art Object information.
4. Listen to the Partian Rhyta audio clip.
5. Watch the Creating Silver Drinking Horns from Ancient Persia to the Present. See time stamp 38:45-39:35 for examples of aerating wine into a cup and drinking directly from the rhyton.

ANALYZE & DISCUSS
6. Discuss which details you read or listened to that you already noticed from your visual analysis of the object.
7. Identify and make a list of four new pieces of information that you read or listened to that you missed in your initial visual analysis of the object.
Did You Know?
The horn of the rhyton was hammered into shape from one sheet of silver as the metal was heated to soften it.

RESEARCH REPORTER
Functional Art Today
90
MINS OBJECTIVES:
Work in groups to research functional art and pick a method to report what you learned.
After completing this activity, you will be able to: • Understand and explain functional art
MATERIALS NEEDED:
• High-resolution digital images of Stag Rhyton (image of the entire object and detailed images from different points of view).
Note for Teachers:
This activity works best as a lead-in activity before students read about
or research the object and focus specifically on what can be discovered through visual analysis.

RESEARCH REPORTER
DIRECTIONS:
1. Begin by looking at images of the ancient vessel, Stag Rhyton, which is an excellent example of functional art.
2. Split into groups to research functional art together.
3. Use available resources (internet search, library, etc.) to answer the following questions:
● What is functional art?
● When do everyday functional objects become functional ART objects?
● What are your group's favorite examples of functional art? Why?
● If your group could design a functional art piece to use at a group gathering, what
would it be? Why?
4. Choose a way to report your group findings. A presentation, news report, large poster, rap,
dance, etc., are all possibilities. Get creative! The report must do the following:
● Answer all questions in Step 3
● Have contributions from all team members
● Provide visuals

ART-MAKING ACTIVITY
Design a Functional Art Object
90 MINS
Design a functional object you would use at a special gathering. Just as Parthians honored important guests at banquets with objects like this rhyton, you can design or create something special!
OBJECTIVES:
After completing this activity, you will be able to: • Understand and explain functional art
• Design a functional art object
MATERIALS NEEDED:
• High-resolution digital images of Stag Rhyton (the image of the entire object and detailed images from different points of view).
• Video: Stag Rhyton
• Sketch paper
• Pencil
• Colored pencils or markers
Did You Know?
The stag’s eyes are made of glass. One eye was lost, but the right eye still contains its original glass inlay.

ART-MAKING ACTIVITY
Plan Your Project
1. Begin by looking at images of the ancient vessel, Stag Rhyton, which is an excellent example of functional art.
2. After looking closely at the images, learn more by watching the video on the Stag Rhyton.
3. Discuss the following questions with the class or in small groups:
Discussion Questions:
● Consider the question at the end of the Stag Rhyton video:
What do you have that combines function and beauty in a
cool way?
● What is functional art?
● When do everyday functional objects become functional
ART objects?
● What are your favorite examples of functional art? Why?
● If you could design a functional art piece to use at a special
gathering, what would it be? Why?

ART-MAKING ACTIVITY
4. Start making your own functional art object. Quickly sketch several ideas for a functional art object on a sheet of paper. Think about how you would use this item and what it needs to have to make it an artwork and a functional object. Experiment with different ideas.
5. Choose one sketch to use for the final drawing.
6. Draw your final idea for a functional art object on a separate sheet of paper. Make sure the drawing
fills the page.
7. Use markers or colored pencils to add details like imagery, decorations, textures, or color to your
object.
8. In pairs or in small groups, share your object and answer the following questions:
● Which idea did you choose from those you brainstormed? Why was this idea your favorite?
● What features did you add to the object? Why?
● How did you decorate your object? Why did you choose those decorations?
EXPLORE MORE
Complete your design and make your object out of materials of your choice.

ART-MAKING ACTIVITY
Draw a Zoomorphic Functional Object
45 MINS
Draw a zoomorphic functional object inspired by the ancient Stag Rhyton.
OBJECTIVES:
After completing this activity, you will be able to:
● Understand and explain zoomorphism
● Understand and explain functional art
● Design a functional work of art that has zoomorphic qualities
● Reflect on and discuss your creative process
MATERIALS NEEDED:
• High-resolution digital images of Stag Rhyton (the image of the entire object and detailed images from different points of view).
• Sketch paper • Pencil
EXPLORE MORE
Make your functional object out of a selection of art materials (like clay).

ART-MAKING ACTIVITY
DIRECTIONS: Introduction
1. Begin by reading the definition of zoomorphism and looking at an example of functional art by viewing images of Stag Rhyton.
2. Use should:
● ● ●
3. Pick ●
● ●
scrap paper to brainstorm and sketch or write ideas for the drawing. Each drawing
Include an animal in your design so that your final design is zoomorphic. Include a functional object of your choice.
Show care, craftsmanship, and attention to detail.
the best idea/sketch, and write down answers to the following:
What animal and what functional object will you be combining? Why did you choose them?
How do you plan to combine the two?
Does combining the two change how the object functions? If so, explain how.

ART-MAKING ACTIVITY
3. Finish the final drawing of your zoomorphic functional work of art using your rough sketches and notes for reference.
4. Present your drawing and share the answers to these questions in a brief presentation to the class or in pairs:
● What did your creative process involve?
● What information did you find most interesting about functional art and
zoomorphism?
● How do you imagine using the object you designed?
EXPLORE MORE
● Complete your design and create the object you designed using materials of your choice. Everyone can gather to share and use the objects for a party or event everyone chooses.
● Create a class gallery of all the designs (and/or finished objects).

RELATED LINKS
Luxury Silver of Ancient Persia from Google Arts and Culture
Video on Creating Silver Drinking Horns from Ancient Persia to the Present from Getty Museum See time stamp
38:45-39:35 for examples of aerating wine into a cup and drinking directly from the rhyton
Video on Royal Banqueting in Ancient Persia from Getty Museum in which the speakers address silver rhyta at timestamps 19:45 and 43:38

STANDARDS
National Core Arts Standards:
6.VA:Cr1.1 Combine concepts collaboratively to generate innovative ideas for creating art.
6.VA:Cr2.1 Demonstrate openness in trying new ideas, materials, methods, and approaches in making works of art and design. 6.VA:Cr3 Reflect on whether personal artwork conveys the intended meaning and revise accordingly.
6.VA:Re7.1 Identify and interpret works of art or design that reveal how people live around the world and what they value. 6.VA:Cn11 Analyze how art reflects changing times, traditions, resources, and cultural uses.
Common Core English Language Arts Standards:
SL.6.1.A Come to discussions prepared, having read or studied required material; explicitly draw on that preparation by referring to evidence on the topic, text, or issue to probe and reflect on ideas under discussion.
SL.6.1.C Pose and respond to specific questions with elaboration and detail by making comments that contribute to the topic, text, or issue under discussion.
SL6.2 Interpret information presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how it contributes to a topic, text, or issue under study.
SL.6.4 Present claims and findings, sequencing ideas logically and using pertinent descriptions, facts, and details to accentuate main ideas or themes; use appropriate eye contact, adequate volume, and clear pronunciation.
SL.6.5 Include multimedia components (e.g., graphics, images, music, sound) and visual displays in presentations to clarify information.

STANDARDS
RI.6.4 Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings. RI.6.7 Integrate information presented in different media or formats (e.g., visually, quantitatively) as well as in words to develop a coherent understanding of a topic or issue.
W.6.1A Introduce claim(s) and organize the reasons and evidence clearly.
W.6.1B Support claim(s) with clear reasons and relevant evidence, using credible sources and demonstrating an understanding of the topic or text. W.6.2.D Use precise language and domain-specific vocabulary to inform about or explain the topic.
W.6.5 Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.
W.6.7 Conduct short research projects to answer a question, drawing on several sources and refocusing the inquiry when appropriate.
W.6.8 Gather relevant information from multiple print and digital sources; assess the credibility of each source; and quote or paraphrase the data and conclusions of others while avoiding plagiarism and providing basic bibliographic information for sources.
California Social Studies Standards:
6.4 Students analyze the geographic, political, economic, religious, and social structures of the early civilizations of Ancient Greece.

‍

Mosaic Fragment with Peacock Facing Left

Explore Animal Symbolism in a Roman Mosaic

Guide

Middle School

Animal

‍

The multi-colored peacock in this mosaic was created from stone cubes in Syria in the 400s or 500s CE. Such cut cubes of stone and other hard materials (ceramic, glass) were called tesserae by the Romans. The peacock’s body is outlined in black. The stones used by the artist are not brightly colored, but the tail design is quite dramatic. It is outlined in red, and the interior colors are mixed pink and beige. The “eye spots” in the tail

FEATURED ART OBJECT
Iconography
Study of and use in art of repeated images with symbolic meaning.
Syncretism
Blending of elements of different cultures, often resulting in new imagery or new interpretations.
are green, yellow, and white, outlined in black. If you look closely, you can see how the artist laid out the stones in and around the bird to emphasize the design.
In the original mosaic there were two peacocks facing one another on either side of a now-missing object. The mosaic was later cut into sections and although both peacocks are preserved, the object between them was lost. But we know from iconography (repeated images) in early Christian art that the birds likely faced a tree or a wine jug or wine cup. Grapevines surrounded the peacocks. In the lower left corner you can still see part of a large bunch of grapes. These designs suggest that the mosaic was probably in a church.
Early Christianity spread in a world that believed in multiple gods. Christians adopted the familiar Roman images they saw all around them. They gave them new meaning in a cultural process called syncretism. Peacocks, grapevines, and wine vessels were associated with two Roman divinities. Roman Bacchus (Greek Dionysos) was the god of wine, grapevines, and drinking.

Attribute
Object, clothing, symbol, or physical characteristic associated with a specific person, hero, or god. An attribute can identify a figure in an artwork.
Saint Augustine
Aurelius Augustinus was a Roman North African who lived from 354-430 CE. He converted to Christianity, became a bishop, and gained sainthood after
his death.
Wine was thought to be healthful and to bring joy, and the god’s grapevines renewed themselves every year, in a rebirth.
The peacock was an attribute (symbol) of the goddess Juno (Greek Hera). The eyes in the bird’s tail originally belonged to a giant with 100 eyes. His name was Argus “All seeing” (Argus Panoptes). Even when some of his eyes were asleep, others were always open. Juno used Argus as her watchful guard. When he was killed, she moved his eyes to the peacock’s tail. The bird shed its tail every year, but the tail grew back, a sign of its rebirth. Over time, Christians associated the peacock with purity. (Saint Augustine even wrote that peacocks’ flesh did not spoil once cooked.) Its unsleeping eyes made the peacock seem immortal.
FEATURED ART OBJECT

Attribute
Syncretism
Blending of elements of different cultures, often resulting in new imagery or new interpretations.
Tessera/tesserae (pl)
Pieces of stone or other hard materials cut into squares or cubes to make mosaic art.
VOCABULARY
Object, clothing, symbol, or physical characteristic associated with a specific person, hero, or god. An attribute can identify a figure in an artwork.
Iconography
Study of and use in art of repeated images with symbolic meaning.
Mosaic
Technique and type of artwork. The technique is to arrange cubes of stone, glass, and ceramic to form patterns and pictures in cement, usually on a floor. The artwork is the final story or decoration made of cubes.
Saint Augustine
Aurelius Augustinus was Roman North African who lived from 354-430 CE. He converted to Christianity, became a bishop, and gained sainthood after his death.

TAKE A CLOSER LOOK
Closeup of Mosaic Fragment with Peacock Facing Left

DISCUSSION
Explore an Ancient Mosaic
Use close looking and discussion to make informed guesses and opinions about this ancient mosaic of a peacock.
45
MINS OBJECTIVES:
Note for Teachers:
This activity works best as a lead-in activity before students read about
or research the object and focus specifically on what can be discovered through visual analysis.
After completing this activity, you will be able to:
• Examine and describe an ancient object
• Gain an understanding of mosaics
• Listen to others’ perspectives about an ancient object
MATERIALS NEEDED:
• High-resolution digital images of Mosaic Fragment with Peacock Facing Left ● A Brief Introduction to Roman Mosaics

DISCUSSION
DIRECTIONS:
1. Begin by looking closely at Mosaic Fragment with Peacock Facing Left using high- resolution images. Make sure to zoom in and out to notice small details.
2. Then discuss the following questions as a class or in small groups.
Discussion Questions:
● What do you see? Describe any details that you notice.
● What materials do you think were used to create this mosaic?
● How are lines and shapes created in a mosaic?
3. Next, read about mosaics in the article: A Brief Introduction to Roman Mosaics. Answer the following questions as a class or in small groups.

DISCUSSION
Discussion Questions:
● What is a mosaic?
● What were mosaics made of?
● Where might you find mosaics?
● What are some other interesting facts about ancient Roman
mosaics that you learned from the article?
Did You Know?
The colors of mosaics that are made of glass, ceramic, and stone don’t fade after many centuries the way that delicate painted surfaces do. We can still appreciate them the way they were meant to be seen.

RESEARCH REPORTER
Peacocks as Symbolic Animals
45 MINS
Research the symbolism of peacocks both in the ancient world and today.
OBJECTIVES:
After completing this activity, you will be able to:
• Understand and explain the symbolism associated with peacocks from both ancient and
contemporary cultures
• Interpret and present research findings
MATERIALS NEEDED:
• High-resolution digital images of Mosaic Fragment with Peacock Facing Left
• Featured Art Object information for Mosaic Fragment with Peacock Facing Left

RESEARCH REPORTER
DIRECTIONS:
1. While viewing an image of the Mosaic Fragment with Peacock Facing Left, read the related Featured Art Object information to learn more about the symbolism and beliefs of Romans regarding peacocks.
2. Work individually or in groups. Answer the following questions, using both the Featured Art Object information and research on the Internet:
● What did the Romans believe about peacocks?
● What are some unique facts, characteristics, or traits of peacocks?
● Are peacocks associated with the same symbolism across different times and
places? Find three examples.
3. Share what you learned by reporting verbally, creating a short slide presentation,
creating a poster, or by writing a one-page explanation.

ART-MAKING ACTIVITY
Create a Symbolic Animal Mosaic Collage
90 MINS
Create a symbolic animal mosaic using paper collage techniques.
OBJECTIVES:
After completing this activity, you will be able to:
• Understand how images are created using mosaic techniques • Explore the use of animals as symbolic representations
• Reflect on and explain your creative process
MATERIALS NEEDED:
• A selction of templates or images of animals
• White copy or construction papter (approximately 8”x11” or 9”x12”)
• Additional construction paper, cut into 1⁄4”- 1⁄2” wide strips (old
magazines or scrap paper also work)
• Glue stick
• Pencil
• Scissors

ART-MAKING ACTIVITY
OPTIONAL:
• Templates with animal outlines
• Precut foam squares instead of construction paper strips • Cardboard instead of white paper
DIRECTIONS:
Plan Your Project
1. Begin by choosing an animal you want to represent in a mosaic that symbolizes an idea that is meaningful to you or someone you know. You can use symbolism that you already know about or create your own.
Make a Mosaic
2. Useaprovidedtemplate,tracefromabookorimage,ordrawanoutlineoftheanimalyou selected on a white sheet of paper. Make sure the animal fills the page.
3. Cutsmallsquaresfromthestripsofconstructionpaperandgluethemdowntofillinsome areas where a square can’t fit. Think about how the shapes fit together and what color choices you will make.

ART-MAKING ACTIVITY
4. Afteryoufilltheanimalwithglued-downpapershapes,repeattheprocessforthe surrounding background, using another color and considering how you can create contrast with the background.
5. Continueuntiltheentiresheetofpaperiscoveredwithamosaicpaperdesign.
6. Shareyourdesignandanswerthefollowingquestionsinashortpresentationinsmall
groups or to the class:
• Why did you choose this animal and what does it symbolize?
• What did the creation process entail?
• What part of making your mosaic did you enjoy the most? Why?

RELATED LINKS
Roman Mosaics in the J. Paul Getty Museum | Alexis Belis online book from Getty Museum Chapter on Mosaic Fragment with Peacock Facing Left
Video on Ancient Byzantine and Mosaic Materials from Art Institute of Chicago Ancient Mosaics Tell the Stories of Their Makers | Getty Iris from Getty Museum A Brief Introduction to Roman Mosaics from Getty Museum
Mosaic Fragment with Peacock Facing Right from Getty Museum

STANDARDS
National Core Arts Standards:
6.VA:Cr1.1 Combine concepts collaboratively to generate innovative ideas for creating art.
6.VA:Cr2.1 Demonstrate openness in trying new ideas, materials, methods, and approaches in making works of art and design.
6.VA:Re7.1 Identify and interpret works of art or design that reveal how people live around the world and what they value.
7.VA:Cn11 Analyze how response to art is influenced by understanding the time and place in which it was created, the available resources, and cultural uses.
Common Core English Language Arts Standards:
SL.6.1.A Come to discussions prepared, having read or studied required material; explicitly draw on that preparation by referring to evidence on the topic, text, or issue to probe and reflect on ideas under discussion.
SL.6.1.C Pose and respond to specific questions with elaboration and detail by making comments that contribute to the topic, text, or issue under discussion.
SL6.2 Interpret information presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how it contributes to a topic, text, or issue under study.
SL.6.5 Include multimedia components (e.g., graphics, images, music, sound) and visual displays in presentations to clarify information.
W.6.1.A Introduce claim(s) and organize the reasons and evidence clearly.
W.6.1.B Support claim(s) with clear reasons and relevant evidence, using credible sources and demonstrating an understanding of the topic or text.

STANDARDS
Common Core English Language Arts Standards:
W.6.2.D Use precise language and domain-specific vocabulary to inform about or explain the topic.
W.6.7 Conduct short research projects to answer a question, drawing on several sources and refocusing the inquiry when appropriate.
W.6.8 Gather relevant information from multiple print and digital sources; assess the credibility of each source; and quote or paraphrase the data and conclusions of others while avoiding plagiarism and providing basic bibliographic information for sources.
California Social Studies Standards:
6.7.8 Discuss the legacies of Roman Art and architecture, technology and science, literature, language, and law.

‍

Bust of Commodus

Ancient Portrait Busts and Propaganda Then and Now

Guide

Middle School

At 16 years old, Commodus became co-ruler of the Roman Empire with his father Marcus Aurelius. Two years later his father died, and he became sole emperor at an age when some students start college. This portrait bust celebrated his new status. The portrait was likely painted and would have looked more lifelike, but over the centuries, colors fade. Remaining traces would have been rubbed away by over-cleaning probably in the 1700s.
Rulers’ portraits helped their subjects recognize them. Portraits were sent from Rome to be copied in cities all across the empire. Distinctive attributes identified each emperor, including facial features, hairstyles, and

FEATURED ART OBJECT
Propaganda
Visual or written communication used to persuade someone or encourage an opinion.
symbols. Members of the royal family showed their relationship by copying the ruler’s hair and beard. In this portrait, Commodus has a long face and slightly protruding eyes with his eyelids lowered. He looks calm and serious. The sculpture’s deeply carved curls and pupils were popular in portraits of this time. Commodus’s hair and beard are similar to his father’s. His cloak suggests military leadership, although the young emperor abandoned Marcus’s war against Germanic tribes.
Imperial portraits influenced public opinion by sending a desired message (propaganda), such as strength, military experience, or wisdom. Many emperors, like Commodus, copied the smooth, idealized faces of heroes in Greek art. Other rulers emphasized life skills shown by age. An emperor’s portrait was remade many times during his lifetime. A new type was often created for special occasions, such as this one made in honor of his rise to sole ruler.

FEATURED ART OBJECT
Scholars describe the five rulers before Commodus as the “Five Good Emperors,” including his respected father. Unfortunately, Commodus became known as a bad emperor. Within two years, his sister tried to assassinate him. This made him suspicious of everyone. He survived another attempt on his life five years later. Over time, his behavior became cruel and bizarre. Commodus fought in the arena as a beast fighter and gladiator, which was considered disgraceful. He renamed Rome after himself, which offended many citizens. Finally, he began to present himself in sculpture as the hero Hercules. This was too much. A third effort to assassinate him in 192 CE succeeded. Commodus was only 31 years old when he died.

VOCABULARY
Attribute
Object, clothing, symbol, or physical characteristic associated with a specific person, hero, or god. An attribute can identify a figure in an artwork.
Bust
Portrait of a person including the head and neck, and sometimes the shoulders and part of the chest.
Portrait
Image of a person, usually the head and face. Some portraits include part of the chest or show the whole body. The image may closely resemble a person or emphasize, idealize, or invent characteristics.
Propaganda
Visual or written communication used to persuade someone or encourage an opinion.

TAKE A CLOSER LOOK
Closeup of Bust of Commodus
Back of Bust of Commodus

TAKE A CLOSER LOOK
Bust of Commodus - Right Bust of Commodus - Left

TAKE A CLOSER LOOK
3/4 View of Bust of Commodus

ANALYZE & DISCUSS
Analyze a Marble Bust
45 MINS
Use close looking and discussion to analyze the function of imperial portraiture, including how an emperor used his image to influence the Roman people.
OBJECTIVES:
After completing this activity, you will be able to:
● Examine and describe an ancient object
● Identify visual clues and explore how Commodus was depicted
● Listen to others’ perspectives about an ancient object
MATERIALS NEEDED:
● High-resolution digital images of Bust of Commodus, including images from different points of view.
● 3D image of Bust of Commodus
Note for Teachers:
This activity works best as a lead-in activity before students read about
or research the object and focus specifically on what can be discovered through visual analysis.

ANALYZE & DISCUSS
DIRECTIONS:
1. Begin by looking closely at Bust of Commodus and/or the 3D image of Bust of Commodus.
2. Make sure to zoom in and out to notice small details.
3. Then discuss the following questions as a class or in small groups.
Discussion Questions:
● What do you see? Take inventory of the elements of this portrait.
● What do you think the portrait communicates about this person?
● Where do you think this bust might have been displayed?
● What does the facial expression tell us about the person?
● How do you think the maker created this portrait?
● Why do you think this detailed bust was made?
● Do you think this portrait accurately reflects how the person was in real life or shows an
idealized image of the subject? What do you see that supports your opinion?

RESEARCH REPORTER
What is Propaganda?
90 MINS
Work in groups to research propaganda and pick a method to report What you learned.
OBJECTIVES:
After completing this activity, you will be able to:
• Define propaganda using examples from ancient and contemporary society
MATERIALS NEEDED:
● Video: Bust of Commodus
Did You Know?
The life-size marble bust of Commodus weighs a whopping 205 pounds. In contrast, a hollow-cast bronze bust of about the same size might weigh as little as 20 pounds.

RESEARCH REPORTER
DIRECTIONS:
1. Begin by watching the Bust of Commodus video.
2. Split into small groups to explore the question at the end of the video: “Why is art
sometimes used as propaganda?”
3. Use the following questions to guide research about propaganda:
● What are the goals of those who create propaganda?
● What is an example of propaganda?
● Can you find a portrait from today used as propaganda?
● Why do you think portraits are used as propaganda?
● How are portraits used for propaganda shared today?
● What are the differences between how they are shared today versus in ancient
Rome?
● What do you think about the use of portraits for propaganda?
4. Choose a way to report your findings, either individually or in small groups. You can create a presentation, news report, large poster, etc. Get creative! Your presentation should include the answers to the research questions. All team members should contribute.

ART-MAKING ACTIVITY
Make a Bust Portrait
90 MINS
Create a bust portrait of someone important to you.
OBJECTIVES:
After completing this activity, you will be able to:
● Create a bust portrait
● Use features and attributes to portray a person
● Reflect on the creative process of making a bust portrait
MATERIALS NEEDED:
● High-resolution digital image of Bust of Commodus
● Audio: Bust of Commodus
● Drawing materials such as colored pencils or markers
● A large piece of drawing paper (at least 11” x 17”)

ART-MAKING ACTIVITY
Directions:
1. Before getting started, listen to the audio about Bust of Commodus while viewing an image of the object to get ideas about how the attributes and features of Commodus were used to portray him in a particular way.
2. Choose a person important to you to feature in your bust portrait. They might be someone you know or someone famous you admire. Brainstorm why they are important and what you want to communicate about them. Write a list of features and attributes of that person.
3. Choose a few features and attributes from your list, then decide on attributes to include in the portrait. For example, what kind of facial expression might the person have? Are they wearing any jewelry? Do they have any unique features or attributes to include?

ART-MAKING ACTIVITY
4. Draw a pedestal on a large piece of paper. For ideas, look at the Bust of Commodus.
5. Use markers or colored pencils to add at least three features and attributes of the
person.
6. Reflect and write about your creative process. Write down your answers to the following
questions.
● Why did you choose this person for your portrait?
● What attributes or features did you include and why?
● What part of making your bust portrait did you enjoy the most? Why?

RELATED LINKS
• Bust of Emperor Commodus 3D Image from Arc/k Project
• The Getty Commodus from Getty Museum
• Video on Carving Marble with Traditional Tools
• Roman Portrait Sculpture: The Stylistic Cycle from Metropolitan Museum of Art
• Propaganda definition from Encyclopedia Britannica

STANDARDS
National Core Arts Standards:
6.VA:Cn11 Analyze how art reflects changing times, traditions, resources, and cultural uses.
6.VA:Cr2.1 Demonstrate openness in trying new ideas, materials, methods, and approaches to making art and design. 6.VA:Cr3 Reflect on whether personal artwork conveys the intended meaning and revise accordingly.
6.VA:Re7.1 Identify and interpret works or art or design that reveal how people live around the world and what they value. 6.VA:Cn11 Analyze how art reflects changing times, traditions, resources, and cultural uses.
Common Core English Language Arts Standards:
SL.6.1.A Come to discussions prepared, having read or studied required material; explicitly draw on that preparation by referring to evidence on the topic, text, or issue to probe and reflect on ideas under discussion.
SL.6.1.C Pose and respond to specific questions with elaboration and detail by making comments that contribute to the topic, text, or issue under discussion.

STANDARDS
Common Core English Language Arts Standards:
SL.6.2 Interpret information presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how it contributes to a topic, text, or issue under study.
SL.6.5 Include multimedia components (e.g., graphics, images, music, sound) and visual displays in presentations to clarify information.
RI.6.4 Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings.
W.6.1A Introduce claim(s) and organize the reasons and evidence clearly.
W.6.1B Support claim(s) with clear reasons and relevant evidence, using credible sources and demonstrating an understanding of the topic or text.
W.6.2.D Use precise language and domain-specific vocabulary to inform about or explain the topic.
W.6.7 Conduct short research projects to answer a question, drawing on several sources and refocusing the inquiry when appropriate.
W.6.8 Gather relevant information from multiple print and digital sources; assess the credibility of each source; and quote or paraphrase the data and conclusions of others while avoiding plagiarism and providing basic bibliographic information for sources.
California Social Studies Standards:
6.7.8 Discuss the legacies of Roman art and architecture, technology and science, literature, language, and law.

Statue of a Victorious Youth

Celebrating Athletes in Ancient Greece and Today

Guide

High School

Statue of a Victorious Youth
Object Name: Statue of a Victorious Youth Date Created: 300–100 BCE
Place Created: Greece
Culture: Greek
Materials: Bronze with inlaid copper Maker: Unknown
Dimensions/Weight: 151.5 × 70 × 27.9 cm, 64.4108 kg
(59 5/8 × 27 9/16 × 11 in., 142 lb.) Getty Museum
This life-size hollow bronze figure of a naked Greek youth is extremely rare. Thousands of large bronze statues once stood in cities throughout the ancient Greek world, but they were later melted down to make other metal objects and artworks. This bronze figure escaped being melted because it sank underwater off the northeast coast of Italy, probably when the ship carrying it was wrecked by a storm. Almost 2,000 years later, the statue was found by fishermen dragging a net along the Mediterranean seabed. It was badly corroded (damaged by water) and sea creatures had been living on and in it. Luckily, barnacles created a protective layer that helped preserve the bronze. Early efforts to clean the surface left some scratches, but eventually the barnacles were carefully removed, and the bronze was stabilized.
Corrode
(relevant to copper-based metals like bronze): To become damaged by the chemical reaction of copper and chlorides in soil or water, similar to the effect of rust or iron.

FEATURED ART OBJECT
Did You Know?
Our word ‘gymnasium’ comes from the Greek word gymnos, meaning “naked,” since athletes practiced
and competed
in the nude.
The statue was made in the Hellenistic period, which followed the death of Alexander the Great. Greek (Hellenic) art and culture spread widely under Alexander’s successors. Someone likely broke the youth off his statue base between the first centuries BCE and CE, when wealthy Romans were especially eager to own original Greek art. The statue’s feet are missing and may have been left behind when he was wrenched off his base. Without the base to tell us his name or the reason he was being honored, we must make educated guesses about him. The olive wreath on his head was a prize of honor at the Olympic Games, suggesting that he was a victor at Olympia, where the games were held. While a public nude statue of an athlete would be startling today, it was common for participants in ancient Greek sports to compete naked. In artworks, male nudity symbolized physical and moral excellence.
The youth’s right hand is raised toward the wreath, and scholars theorize that he was about to take it off to dedicate it to Zeus, patron god of the Games. The young man’s empty left hand likely held a palm frond, another symbol of victory. Statues of victors stood in the god’s sanctuary at Olympia or in

FEATURED ART OBJECT
Cast
To make in a mold from liquid metal. A cast object can be hollow or solid.
Contrapposto
(“opposite” in Italian): Pose of a standing figure with most of the weight on one leg and the other bent. This causes hips, shoulders, and head to shift to balance the body. One arm is often higher and one lower.
winning athletes’ hometowns, but we cannot know where he stood. His face and toned body seem idealized, common in art showing heroic figures, but the artist has included individual features that may reflect his real appearance, such as his long nose and the dimple in his chin.
The Victorious Youth’s head, arms, and torso with legs were cast separately in molds and then joined. If his lost feet were still attached, he would stand about five-and-a-half feet tall, an average height for a man at the time. He faces forward in a contrapposto (asymmetrically balanced) pose. His left knee is bent so that his right leg takes most of his weight, and his torso forms a gentle curve to the left to compensate. This stance makes a standing figure look more natural and dynamic than one with both feet flat on the ground, legs straight. The Greeks began to perfect the pose in the fifth century BCE, and it survived across time. Michelangelo’s famous over-life-size sculpture of David (1504 CE) was influenced by such standing statues from antiquity, and that in turn inspired other artists to experiment with contrapposto.

FEATURED ART OBJECT
Bronze disease
Corrosion of a bronze object that cannot be permanently stabilized. Without special care, an object with bronze disease will continue to corrode.
Conservator (of antiquities)
Professional responsible for preserving ancient objects and materials. Conservators usually have a general knowledge of chemistry and ancient art-making practices and are often specialists in one material. Among many other responsibilities, they conduct technical and historical research and oversee preventative care such as climate control.
Inlay
To decorate an object by inserting a piece of another material into it so that it is even with the original surface.
Alloy
Mixture of two or more substances, one a metal. Bronze is an alloy of copper and other elements, including tin.
Gild
To apply a thin layer of gold foil or liquid gold (gilt) to create the look of solid gold.
During its time under water, the statue developed bronze disease which must be carefully monitored by conservators. The statue’s environment in the museum is designed to limit its exposure to moisture. Humidity and even human breath can cause further damage. The figure’s original shiny tan skin now appears mottled brown and green. Just as white marble statues were often painted with pigments to look more lifelike, parts of bronze figures were also inlaid or coated with alloys (metal mixtures) and other materials to create different colors. This athlete’s nipples were inset with a copper alloy to make their color stand out. His wreath may have been gilded (covered with gold). His eyes, lost in the sea, would have been crafted separately of materials such as stone, glass, or ivory and inserted from inside the head before it was attached. The eyes were often extremely detailed, showing tear ducts and eyelashes as well as the pupil, iris, and white of the eye. The original Victorious Youth would have looked very lifelike.

Alloy
Contrapposto
(“opposite” in Italian): Pose of a standing figure with most of the weight on one leg and the other bent. This causes hips, shoulders, and head to shift to balance the body. One arm is often higher and one lower.
Corrode
(relevant to copper-based metals like bronze): To become damaged by the chemical reaction of copper and chlorides in soil or water, similar to the effect of rust on iron.
Gild
To apply a thin layer of gold foil or liquid gold (gilt) to create the look of solid gold.
Inlay
To decorate an object by inserting a piece of another material into it so that it is even with the original surface.
VOCABULARY
Mixture of two or more substances, one a metal. Bronze is an alloy of copper and other elements, including tin.
Bronze disease
Corrosion of a bronze object that cannot be permanently stabilized. Without special care, an object with bronze disease will continue to corrode.
Cast
To make in a mold from liquid metal. A cast object can be hollow or solid.
Conservator (of antiquities)
Professional responsible for preserving ancient objects and materials. Conservators usually have a general knowledge of chemistry and art-making practices and are often specialist in one material. Among many other responsibilities, they conduct technical and historical research and oversee preventative care such as climate control.

TAKE A CLOSER LOOK
Front details of Statue of a Victorious Youth Back of Statue of a Victorious Youth

VISUAL ANALYSIS & DISCUSSION
Discover the History of an Object Using Visual Clues
45 MINS
Use close observation and discussion to learn about an object’s history.
OBJECTIVES:
After completing this activity, you will be able to:
• • •
Examine and describe an ancient work of art
Listen to others’ perspectives about an ancient work of art
Understand how visual details can provide information about an object
MATERIALS NEEDED:
• High-resolution digital images of Statue of a Victorious Youth
Note for Teachers: •
This activity works best as a lead-in activity before students read about or research the object.
Pre-conservation image of Statue of a Victorious Youth
• Video: Statue of a Victorious Youth: Getty Conversations

VISUAL ANALYSIS & DISCUSSION
DIRECTIONS:
Begin by looking closely at the pre-conservation image of Statue of a Victorious Youth. Then discuss the following question as a class or in small groups.
DISCUSSION QUESTION:
• What do you observe about this object? Elaborate using specific visual details and what you think they tell us about the object.
The pre-conservation image shows what the statue looked like when it was pulled from the sea. At that time, it had not yet received conservation treatment, including the removal of barnacles and stabilization of the corrosion resulting from the bronze having been in contact with moisture for so long while underwater.
Next, compare the pre-conservation image with a high-resolution version of the Statue of a Victorious Youth as it looks today. Make sure to zoom in and out to notice small details. Then, discuss the following questions:

VISUAL ANALYSIS & DISCUSSION
• • •
Discussion Questions:
What details do you see that you were not able to see in the pre -conservation image? Describe as many as you can.
What can you infer about this person, just by looking at this sculpture? What are the visual clues?
What do you like and/or dislike about this sculpture?
Watch the video Statue of a Victorious Youth: Getty Conversations until the 4:10 mark. Then discuss the following questions:

VISUAL ANALYSIS & DISCUSSION
Discussion Questions:
• What types of damage has happened to this object since the time it was first made?
• What were some of the reasons that made it difficult for objects like this one to survive to the present time?
• Why did the Statue of a Victorious Youth survive when most other bronze statues of that time did not? What roles did the environment play in contributing to its preservation?
• Imagine how this figure would have looked originally. What are some differences between how the figure looks today and how he would have
looked when he was first made and displayed?
• Do you have any objects of your own (they don’t have to be art objects)
that show their history just by looking at the details you can see today? Discuss one such object and describe any visual details that tell us about the object’s history.

HANDOUT
Object Name: Statue of a Victorious Youth Date Created: 300–100 BCE
Place Created: Greece
Culture: Greek
Materials: Bronze with inlaid copper Maker: Unknown
Dimensions/Weight: 151.5 × 70 × 27.9 cm, 64.4108 kg
(59 5/8 × 27 9/16 × 11 in., 142 lb.) Getty Museum

DISCUSSION & WRITING
Contemporary Connections: Athletic Heroes in Art
45 MINS
Compare how athletic heroes are depicted in ancient Greece and today.
OBJECTIVES:
After completing this activity, you will be able to:
• Examine and describe an ancient work of art
• Compare works of art from different time periods
• Analyze how visual details such as symbols and attributes are used in a
work of art to communicate meaning
MATERIALS NEEDED:
• High-resolution image of Statue of a Victorious Youth
• Image of a statue of any modern-day athletic hero
Did You Know?
Even ancient Greeks were not sure about the origins of naked athletics. The first Olympic event was the sprint, and one author claims a runner shed his garment on purpose to make running easier.

DISCUSSION & WRITING
DIRECTIONS:
Look online to find a statue of a modern-day athletic hero. For example, you could look at an image of the statue of Jerry West made by Omri Amrany and Julie Rotblatt Amrany outside of a stadium in Los Angeles, CA; a statue of Wilma Rudolph made by Howard Brown and currently located in Clarksville, TN; or an image of the Jessie Owens sculpture in Oakville, AL, made by Branko Medenica. In small groups or as a class, discuss the following questions:
• •
• •
Discussion Questions:
What is the purpose of the statue?
Does the statue seem realistic? If yes, what details tell us that it represents a specific person?
Do you think the person represented is idealized in this sculpture? Why or why not?
What details does the sculptor include to tell us about the person represented? What do the details tell us about the person?

DISCUSSION & WRITING
Next, compare the modern-day statue with the Statue of a Victorious Youth. Discuss the following questions:
Discussion Questions:
• Does the modern-day sculpture seem more realistic than the Statue of a Victorious Youth? Why or why not? If yes, explain whether realism changes how you view and connect with a sculpture.
• Are there stylistic elements in the modern-day statue that look similar to, or look like they were influenced by Greek sculptures like the Statue of a Victorious Youth? If yes, what are they? If the modern-day statue does not have any stylistic elements in common with the Statue of a Victorious Youth, how would you describe its style?

DISCUSSION & WRITING
Finally, write an essay that explores the following question: What role(s) do athletes play in society and popular culture today? As part of your essay, include answers to the following questions:
• In both the modern-day statue, and the 2,000 year-old bronze Statue of a Victorious Youth, athletes are often heroized and celebrated by their societies. What are some of the ways that athletes are celebrated today?
• What types of roles do today’s athletes play in our society that extend beyond the realm of athletic competitions or sports? Give some examples.
• The wreath on the Statue of a Victorious Youth provides important context and background to this figure, communicating that he was likely a celebrated athlete. What symbols are associated with victory and athletic success today?
• Why do you think athletes are so celebrated throughout history?
• Do you think athletes should be treated like heroes?

ART-MAKING ACTIVITY
Athletic Hero Portrait
90 MINS
Create a portrait of an athletic hero of your choosing.
OBJECTIVES:
After completing this activity, you will be able to:
• Create a portrait using features and attributes to portray a specific person
• Reflect on the creative process of making a portrait
MATERIALS NEEDED:
Did You Know?
The events held at the ancient Olympics included running, wrestling, boxing, long jump, discus, and horse and chariot racing. Running was the most celebrated event.
•
• •
drawing materials such as crayons, colored pencils, or markers
a large piece of drawing paper (at least 11 x 17”) Audio clip: Victorious Athlete (Getty Bronze)
DIRECTIONS:
Briefly explore the Statue of a Victorious Youth and discuss how this athletic hero is depicted. Listen to this audio clip: Victorious Athlete (Getty Bronze) to hear a background on the Statue of a Victorious Youth while looking at images of the object. Then, discuss the following questions.

ART-MAKING ACTIVITY
DISCUSSION QUESTIONS:
• What are some of this statue’s attributes that signal he is an athlete and a hero?
• What other information did the artist want to communicate about the athlete?
OPTIONAL: For an exploration of the ways that athletic heroes are depicted today, complete the activity Contemporary Connections: Athletic Heroes in Art before moving on to the artmaking component.
Next, choose an athletic hero to represent in your portrait. Brainstorm why you consider them to be heroes, and what you would like to communicate about them in a portrait. Write a list of features and attributes of that person. Consider how you might use pose, gesture, and gaze to communicate their heroic qualities.
1. Chooseafewfeaturesandattributesfromyourlist,andthendecideonimagery to include in the portrait. For example, what facial expressions might they show? (Joy, determination, focus, excitement, etc.?) Do they have any distinguishing pieces of clothing or accessories?

ART-MAKING ACTIVITY
2. Drawyourportraitusingmarkers,coloredpencils,ordrawingmaterialsofyour choice. Make sure to add at least three features or attributes of the person.
3. Reflectonyourcreativeprocessandeitherwriteaboutitordiscussitwitha classmate. Use the following questions to guide your writing/discussion.
• Why did you choose this person for your portrait?
• What attributes or features did you include and why?
• Was your portrait influenced by any other representations of heroes?
If yes, explain how.

RELATED LINKS
Illustrated Process of Casting Bronze Statues in Ancient Greece from the National Gallery of Art
Book on The Victorious Youth from the Getty
Video on an exhibition of the Victorious Youth and other objects that have withstood the test of time from PBS NewsHour The Getty Guide to the Ancient Olympics
Talking about the Getty Bronze

STANDARDS
National Core Arts Standards:
Prof.VA:Cr3 Apply relevant criteria from traditional and contemporary cultural contexts to examine, reflect on, and plan revisions for works of art and design in progress.
Prof.VA:Re7.2 Analyze how one’s understanding of the world is affected by experiencing visual imagery.
Prof.VA:Re8 Interpret an artwork or collection of works, supported by relevant and sufficient evidence found in the work and its
various contexts.
Prof.VA:Re9 Establish relevant criteria in order to evaluate a work of art or collection of works.
Prof.VA.Cn11 Describe how knowledge of culture, traditions, and history may influence personal responses to art.
Common Core English Language Arts Standards:
9-10.SL.1 Initiate and participate effectively in a range of collaborative discussions (one-on-one. in groups, and teacher-led) with diverse partners on grades 9–10 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.
9-10.W.1 Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.
9-10.W.2 Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.
9-10.W.7 Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.
California Social Studies Standards:
HSS-10.1 Standard: Students relate the moral and ethical principles in ancient Greek and Roman philosophy, in Judaism, and in Christianity to the development of Western political thought.

‍

Male Harp Player of the Early Spedos Type

Explore an Ancient Greek Sculpture of a Musician

Guide

Middle School

Harp Player of the Early Spedos Type
Object Name: Harp Player of the Early Spedos Type
Date Created: 2700-2300 BCE Place Created: Cyclades, Greece Culture: Cycladic
Material: Marble
Maker: Unknown
Dimensions: 35.8 × 9.5 × 28.1 cm (14 1/8 × 3 3/4 × 11 1/16 in.) Getty Museum
This small marble harp player is in many ways a mystery. He is similar to other figures made in the Cycladic Islands, a circle of islands near Greece, about 4,500 years ago. Most were found in cemeteries, and some came from what may be religious structures. Few houses have been excavated, so we don’t know if the figures were used at home. We don’t know what the ancient people living there called their islands, because their writing has not been discovered. Archaeologists must interpret Cycladic culture by studying their buildings, artifacts, and art. We don’t even know whether the sculptures show humans or gods.
Most of the sculptures are flat figures of women, but some men are represented, including warriors and musicians. Only about a dozen sculptures of harpists are known, as well as some men playing reed instruments, such as pipes. All the figures have simple, elegant shapes.

FEATURED ART OBJECT
Abstract
Simplified, intended to capture an aspect or essence of an object or idea rather than to represent reality.
Picasso
Pablo Picasso was a famous Spanish artist of the 1900s known for his creative work in painting, sculpture, and other media. He admired ancient art and experimented with abstract forms.
Modigliani
Amedeo Modigliani was an Italian painter who became well known in the early 1900s for his simplified human figures with blank eyes.
Iliad
Greek epic poem about the Trojan War and the hero Achilles, told orally for centuries and then written down by about 700 BCE. Attributed to the poet Homer.
Odyssey
Greek epic poem about the return of the hero Odysseus from the Trojan War, told orally for centuries and then written down by about 700 BCE. Attributed to the poet Homer.
The abstract qualities of Cycladic sculpture and their apparent white simplicity (due to faded colors) strongly influenced modern artists (such as Picasso and Modigliani) in the 1900s. This led to greater interest in Cycladic art. Although that might sound like good news, unfortunately, archaeological sites were looted, and much information was lost.
The harpists sit on stools or chairs. They rest the bottom of the harp, or its sound box, on one thigh. Some musicians seem to play or sing. This harpist is not playing, since he rests his right arm along the sound box. His left hand stretches forward and holds the frame of the harp. Since his head is tilted up slightly, some people think he may be singing. This sculpture might be one of the earliest images of a bard, a musician with a stringed instrument, singing or chanting a story.
Many years after this figure was carved, the bards described in Homer’s Iliad and Odyssey told tales of exciting adventures, describing heroes’ courage and honorable behavior. Bards sang of victories in competition and combat. They described heroes’ encounters with monstrous beings.

Emery
Hard, dense rock rich in corundum, found easily on the Cycladic Islands. A powerful abrasive for grinding and smoothing other stones.
Pumice
Lightweight form of volcanic rock filled with bubbles, useful for grinding and smoothing.
Obsidian
Volcanic glass that splits or chips easily to make tools with sharp edges. Obsidian was available on the Cycladic Islands and its blades may have helped shape or add details to Cycladic figurines.
Incise
To press or cut into a surface (stone, metal, clay, wood) with a sharp tool to write text or create fine curving and linear details.
Proportions and shapes repeated within and across figures show that many Cycladic sculptures were measured with a compass. The completed sculptures were carefully smoothed and polished. An artisan’s tools included emery, pumice, and obsidian for chipping, grinding, smoothing, and incising. On some figures, surviving paint shows facial features, hair, jewelry, and patterns. The pigments are mineral-based and include red, blue, green, and black. Because the paint is fragile, though, mostly it has faded away. The stone surfaces with and without color have also become worn over the centuries.
Luckily, evidence of pigment has survived on the figures in two ways. First, some color slightly penetrated the stone and is still visible even if the surface is worn. Second, some thickly painted areas were especially protected. Even once the color did finally wear off, the once-painted areas were less worn than unpainted areas. Upon close looking, those areas remain raised slightly higher than the unpainted stone. The raised areas that were once painted are sometimes called paint “ghosts.”
FEATURED ART OBJECT

Abstract
Modigliani
Amedeo Modigliani was an Italian painter who became well known in the early 1900s for his simplified human figures with blank eyes.
Obsidian
Volcanic glass that splits or chips easily to make tools with sharp edges. Obsidian was available on the Cycladic Islands and its blades may have helped shape or add details to Cycladic figures.
Odyssey
Greek epic poem about the return of the hero Odysseus from the Trojan War, told orally for centuries and then written down by about 700 BCE. Attributed to the poet Homer.
VOCABULARY
Simplified, intended to capture an aspect or essence of an object or idea rather than to represent reality.
Emery
Hard, dense rock rich in corundum, found easily on the Cycladic Islands. A powerful abrasive for grinding and smoothing other stones.
Iliad
Greek epic poem about the Trojan war and the hero Achilles, told orally for centuries and then written down by about 700 BCE. Attributed to the poet Homer.
Incise
To press or cut into a surface (stone, metal, clay, wood) with a sharp tool to write text or create fine curving and linear details.

Picasso
VOCABULARY
Pablo Picasso was a famous Spanish artist of the 1900s known for his creative work in painting, sculpture, and other media. He admired ancient art and experimented with abstract forms.
Pumice
Lightweight form of volcanic rock filled with bubbles, useful for grinding and smoothing.

TAKE A CLOSER LOOK
Closeup of Harp Player of the Early Spedos Types

ANALYZE & DISCUSS
Close Look at an Ancient Sculpture
Use close looking and discussion to learn more about this ancient object and what it might represent.
45
MINS OBJECTIVES:
Note for Teachers:
This activity works best as a lead-in activity before students read about
or research the object and focus specifically on what can be discovered through visual analysis.
After completing this activity, you will be able to:
● Examine and describe an ancient object
● Make informed guesses about an ancient object based on visual clues
● Listen to others’ perspectives about an ancient object
MATERIALS NEEDED:
● Featured High-resolution digital images of Harp Player
● Featured Art Object information for Harp Player of the Early Spedos Type
● Video: Harp Player
● Audio: Harp Player

ANALYZE & DISCUSS
DIRECTIONS:
1. Begin by looking closely at Harp Player of the Early Spedos Type using high-resolution images. Make sure to zoom in and out to notice small details.
2. Then discuss the following questions as a class or in small groups.
Discussion Questions:
● Describe what you see. Based on visual analysis alone, can you tell what the figure is doing?
● What materials do you think were used to create this sculpture?
● One Getty visitor joked, “It looks like this person is playing a vacuum
cleaner!” What does it look like to you?
● What do you like and/or dislike about this sculpture?

ANALYZE & DISCUSS
Did You Know?
The Cycladic Islands—or Cyclades, the “encircling ones” in Greek—form a rough ring. The inhabitants could easily sail between these islands to trade.
3. Next, explore the sculpture more by using any combination of the following resources:
● Watch the Harp Player video.
● Read the related Featured Art Object information.
● Listen to the Harp Player audio.
4. Whenyouhavecompletedyourexploration,discusswhichdetailsyoualready noticed from your visual analysis of the object.
5. Identifyfournewpiecesofinformationyoulearnedfromreadingaboutthe object, watching the video, and listening to the audio clip. Make bullet points listing the new information that you discovered.

RELATED LINKS
Cycladic art: The art of the Cycladic Islands from Smarthistory
Early Cycladic Art and Culture from Metropolitan Museum of Art
Early Cycladic Sculpture: An Introduction, 2nd Edition online book from Getty Publications
Did You Know?
Cycladic marble quarries remained famous for thousands of years because of the great beauty of their stone.

STANDARDS
National Core Arts Standards:
6.VA:Cn11 Analyze how art reflects changing times, traditions, resources, and cultural uses. Common Core English Language Arts Standards:
SL.6.1.A Come to discussions prepared, having read or studied required material; explicitly draw on that preparation by referring to evidence on the topic, text, or issue to probe and reflect on ideas under discussion.
SL.6.1.C Pose and respond to specific questions with elaboration and detail by making comments that contribute to the topic, text, or issue under discussion.
SL6.2 Interpret information presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how it contributes to a topic, text, or issue under study.
SL.6.5 Include multimedia components (e.g., graphics, images, music, sound) and visual displays in presentations to clarify information.
RI.6.4 Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings.
RI.6.7 Integrate information presented in different media or formats (e.g., visually, quantitatively) as well as in words to develop a coherent understanding of a topic or issue.
California Social Studies Standards:
6.4 Students analyze the geographic, political, economic, religious, and social structures of the early civilizations of Ancient Greece.

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