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                  <text>McVitty French Book of Hours</text>
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                  <text>Kathleen Nolan&#13;
Jordan Shook&#13;
Shelby Barbee&#13;
Elise Schloff&#13;
Clara Souvignier&#13;
Hannah Blackburn-Jones&#13;
Rebecca Davis &#13;
Katelyn Curley&#13;
Mackenzie Roberts&#13;
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                <text>Gospels Lessons; St. John on Patmos, fol. 16</text>
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                <text>medieval manuscripts</text>
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                <text>This miniature opens the Gospel Lessons by depicting John the Evangelist on the island of Patmos writing his Gospel. This image, like others in the book of hours, helped a reader to navigate her way through the text.  John begins the sequence, since rather than following the order of the first four books of the New Testament, the lessons highlight the readings for four major feast days of the liturgical year, starting with John’s text, “In principio erat  verbam,” “In the beginning was the word,” read on Christmas Day. In addition to the full-page miniature for John’s lesson, small illuminated initials featuring the Evangelist and his symbol mark each of the other Gospel excerpts. &#13;
The depiction of John seated in the landscape, intently writing and seemingly communing with his symbol, the eagle, follows a long tradition of author portraits in the book arts dating back to early medieval times.  There can be other ways of illustrating John’s Gospel, but an author portrait is a standard image, appearing, for example, in the closely related Morgan Library MS M. 2, fol. 15, or Morgan MS. M. 1093, fol. 13r.  What is distinctive about the McVitty Master’s scene is the rock formation that appears behind John.  Other artists, like the Master of the Geneva Latini and his workshop (as in Morgan MS. M. 1093), made use of geological props in their landscapes, but not with the same frequency or emphasis as the McVitty Master.  Seven of the miniatures in the McVitty Hours include freestanding rocks, and in five of them, complex, faceted outcrops dominate the composition.  These imaginative red-brown structures bear little resemblance to the white limestone of the Parisian basin and seem to be the artist’s signature device through which he emphasized key protagonists and actions in his miniatures.  The rock in John’s scene is fairly contained, but tilts slightly at the top to frame the Evangelist.  Here as in other outdoor scenes, the McVitty Master successfully evokes an expansive landscape setting studded with trees and a deep, atmospheric background.&#13;
The author portrait of John is also characteristic of the approach the McVitty Master took to the human figure, with its slender, doll-like form, pale, ovoid face and flaxen hair.  Here as elsewhere in the manuscript, the garments are etched with a fine web of gold paint.</text>
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                <text>Citations: Bond, W. H. Supplement to the Census of Medieval and Renaissance manuscripts in the United States and Canada, no. 2</text>
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                <text>Provenance:  Presented to Hollins College, Virginia, by S. Herbert McVitty in memory of Lucy Winton McVitty, Trustee of the college from December 30, 1926 until her death August 7, 1941.</text>
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                <text>1490</text>
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                <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact the Wyndham Robertson Library.</text>
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                <text>Part of &lt;a href="http://digitalexhibits.hollins.edu/exhibits/show/hucodex1/introduction"&gt;Miniatures from the McVitty Book of Hours&lt;/a&gt;.</text>
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                <text>Jordan Shook (author of description)</text>
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                  <text>WWII Monuments in Epirus, Greece</text>
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                  <text>These images and text document the many and varied World War II monuments scattered across the rugged landscape of Epirus, in northwestern Greece. They also provide evidence for the strong culture of ongoing World War II commemoration in the region. What the monuments commemorate ranges from the Hellenic Army's victory over Mussolini's forces in 1940 through the role of Greek women in the war, to the victims of Nazi atrocities, and even a Communist dominated resistance organization. The collection is part of a larger project that includes scholarship on some of the memorials, and interactive mapping of all of them which will enable users to geographically locate each one, learn its historical context, and contribute to discussion about it. &lt;a href="https://digitalexhibits.hollins.edu/neatline/show/warmonumentsgreece"&gt;View the interactive map&lt;/a&gt;</text>
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              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
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                  <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: http://presslib.hollins.edu/. </text>
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                  <text>Greece</text>
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                  <text>Epirus, Greece</text>
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                  <text>Christopher J. Richter, Christina Salowey</text>
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                <text> (Grambala Hill)</text>
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                <text>Epirus, Greece</text>
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                <text>Twentieth Century</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: askref@hollins.edu.</text>
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                <text>war memorials; historic monuments; list of names</text>
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                <text>November 1, 1940 (Date of Event); unknown (Date of Construction)</text>
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                <text>This conical memorial, roughly 15 feet in height, surrounded by a circular paved area and risers forming a theatral area, is positioned at a hairpin turn in the road up to the Papingo villages. The stone-built truncated conical monument is topped with three crossed arrows and is inset with a bronze memorial plaque. The monument is set within a stone enclosure topped by a metal balustrade. The metal gate is flanked by marble plaques recording the names of the deceased. The plaque on the right is broken in four pieces, one of which is missing. The same names as recorded on the bronze plaque are listed on these.  There are remains of memorial wreaths and shabbat candles on site.</text>
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                <text>ΠΕΣΟΝΤΕΣ \ΣΤΗΝ ΓΚΡΑΜΒΑΛΑ\ΑΝΘΥΠΟΛΟΧΑΓΟΣ\ΧΑΤΖΟΠΟΥΛΟΣ ΝΙΚ\ΛΟΧΙΑΣ\ΜΑΓΚΙΝΑΣ ΚΩΝ\ΣΤΡΑΤΙΩΤΕΣ\ΒΙΤΣΙΚΑΣ ΕΥΑΓ\ΔΗΜΟΥ ΚΩΝ\ΖΩΗΣ ΚΩΝ\ΚΑΡΑΛΗΣ ΙΩΑΝ\ΚΑΡΑΜΙΧΑΣ ΓΕΩΡ\ΚΑΨΑΛΗΣ ΙΩΑΝ\ΜΠΑΛΤΖΩΗΣ ΧΡΗΣ\ΜΠΟΥΜΠΑΣ ΒΑΣ\ ΝΑΤΣΗΣ ΛΕΩΝ\ΝΙΚΟΛΑΟΥ Γ ΝΙΚ\ ΠΑΝΤΑΖΗΣ ΠΑΥΛ\ΠΕΤΡΟΥ ΣΤΕΡ\ΡΙΖΟΣ ΒΑΣ\ΤΣΙΜΑΣ ΕΥΑΓ\ΧΑΛΒΑΤΖΗΣ ΒΑΣ\ΧΑΡΙΣΗΣ ΙΩΑΝ\ ΧΑΧΑΛ ΡΑΦΑΗΛ ; Those men fallen at Grambala: Second lieutenant, Nikolaos  Chatzopoulos; Sergeant, Konstantinos Manginas. Soldiers: Evangelos Vitsikas; Konstantinos Demou; Konstantinos Zois; Ioannis Karalis; Georgios Karamichas; Ioannis Kapsalis; Christos Baltzois; Vasileios Boubas; Leon Natsis; Nikolaos G. Nikolaou; Paulos Pantalis; Stergios Petrou; Vasileios Rhizos; Evangelos Tsimas; Vasileios Chalbatzis; Ioannis Charisis; Raphael Chachal.</text>
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              <description>A name given to the resource</description>
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                  <text>Proceeding: Ann Hopkins' Victorious Battle Against Workplace Discrimination</text>
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                  <text>Price Waterhouse v. Hopkins, 490 U.S. 228</text>
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                  <text>Harika Bommana</text>
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                  <text>Hollins University Archives</text>
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              <description>Information about rights held in and over the resource</description>
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                  <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact the library.</text>
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                  <text>Ancient Greece</text>
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                  <text>The Archaic, Classical, and Hellenistic works of art in this collection were all displayed with an accompanying inscription in ancient Greek. The interaction between the visual image and inscribed text can illuminate the function, meaning, and impact of the artistic object. The inscriptions are epitaphs, dedications, signatures, historical records, and literary records that contextualize the artistic production of ancient Greece in a variety of ways. &lt;a href="http://digitalexhibits.hollins.edu/exhibits/show/greekinthewild/introduction"&gt;View the interactive exhibit&lt;/a&gt;.</text>
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                  <text>Pria Jackson, Amanda McVey, Amelia Verkerk, Tina Salowey</text>
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      <description>A static visual representation. Examples include paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type Text to images of textual materials.</description>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <name>Creator</name>
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                <text>Demetrias</text>
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                <text>Demetrias</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>monument, stele, funerary art</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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            <name>Date</name>
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                <text>250-225 BCE </text>
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                <text>Hediste</text>
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                <text>Tina Salowey</text>
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                <text>This grave marker for Hediste is in the form of a naiskos. Under the geison is a painted scene, underneath which is a 6 line inscription in ancient Greek. The grave monument is restored from two pieces found separately but clearly joining. The painted scene is remarkable for its color, sense of depth, and complex narrative. In the foreground, the painted scene displays a woman laid out on a decorative couch, with a man who is seated at her feet, looking at her closely. In the background, a complex, multi-dimensional architectural scene is depicted. A partition wall separates the couch from a back hallway in which an older woman stands, cradling the presumably dead infant in her arms. A door way leads from this space into an undefined area in which a younger girl, perhaps a household attendant, stands. This partition of space and illusion of receding domestic realms is unique among the extant painted stelai from Demetrias Pagasai. Unlike the other painted stelai, which are compositionally similar to their sculpted Classical counterparts from 5th and 4th century BCE Attica, the Hediste stele presents a narrative, rather than just an emblematic display of the deceased surrounded by family and friends. </text>
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                <text>limestone, pigment</text>
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                <text>Part of &lt;a href="http://digitalexhibits.hollins.edu/exhibits/show/greekinthewild/introduction"&gt;Greek in the Wild: Inscriptions Explained&lt;/a&gt;</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="979">
                <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact the &lt;a href="http://presslib.hollins.edu/"&gt;Wyndham Robertson Library&lt;/a&gt;.</text>
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        <name>funerary epigram</name>
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        <name>Hediste</name>
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        <name>Hellenistic</name>
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        <name>stele</name>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>WWII Monuments in Epirus, Greece</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="519">
                  <text>These images and text document the many and varied World War II monuments scattered across the rugged landscape of Epirus, in northwestern Greece. They also provide evidence for the strong culture of ongoing World War II commemoration in the region. What the monuments commemorate ranges from the Hellenic Army's victory over Mussolini's forces in 1940 through the role of Greek women in the war, to the victims of Nazi atrocities, and even a Communist dominated resistance organization. The collection is part of a larger project that includes scholarship on some of the memorials, and interactive mapping of all of them which will enable users to geographically locate each one, learn its historical context, and contribute to discussion about it. &lt;a href="https://digitalexhibits.hollins.edu/neatline/show/warmonumentsgreece"&gt;View the interactive map&lt;/a&gt;</text>
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              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="520">
                  <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: http://presslib.hollins.edu/. </text>
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              <name>Subject</name>
              <description>The topic of the resource</description>
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                  <text>Greece</text>
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              <name>Coverage</name>
              <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <elementText elementTextId="522">
                  <text>Epirus, Greece</text>
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            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
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                <elementText elementTextId="561">
                  <text>Christopher J. Richter, Christina Salowey</text>
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    <itemType itemTypeId="15">
      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
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        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>Kónitsa, Ioánnina, Epirus, Greece</text>
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                <text>40.04861</text>
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                <text>20.756666</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Epirus, Greece</text>
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                <text>Twentieth Century</text>
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          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="267">
                <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: askref@hollins.edu.</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>war memorials</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>epirus_heroon_1940_konista</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1940 (Date of Event); unknown (Date of Construction)</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Heroon 1940 Konitsa</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>At the top of the pass heading into the Pindus Mountains going north from Konitsa, an enclosure with a cenotaph of the men fallen in 1940 is marked by a toppled metal sign stating Heroon 1940. The cenotaph is approach through an arched gateway. There is a votive niche to the left of this gateway.  A series of stone-built steps leads to the top of a mound. The flattened mound is approached through another gateway and  is crowned by a rectangular cenotaph outlined with marble slabs. The cenotaph bears a set-in marble cross, and is topped with a marble marker, also carrying a cross. Memorial laurel wreaths remain. The memorial overlooks the Aoos River Valley.</text>
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                <text>ΚΕΝΟΤΑΦΕΙΟ\ΠΕΣΟΝΤΩΝ\1940 ; Cenotaph of the men having fallen in 1940.</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>marble (rock)</text>
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                <text>stone-built</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Proceeding: Ann Hopkins' Victorious Battle Against Workplace Discrimination</text>
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              <name>Subject</name>
              <description>The topic of the resource</description>
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                <elementText elementTextId="1405">
                  <text>Ann Hopkins</text>
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                  <text>Price Waterhouse v. Hopkins, 490 U.S. 228</text>
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              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
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                <elementText elementTextId="1407">
                  <text>Lori Joseph</text>
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                <elementText elementTextId="1408">
                  <text>Beth Harris</text>
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                <elementText elementTextId="1409">
                  <text>Courtney Chenette</text>
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                <elementText elementTextId="1410">
                  <text>Rebecca Halsey</text>
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                  <text>Kathleen Nolan&#13;
Jordan Shook&#13;
Shelby Barbee&#13;
Elise Schloff&#13;
Clara Souvignier&#13;
Hannah Blackburn-Jones&#13;
Rebecca Davis &#13;
Katelyn Curley&#13;
Mackenzie Roberts&#13;
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                <text>Hours of the Cross, Crucifixion, fol. 32r</text>
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                <text>The Hours of the Cross, which typically followed the Hours of the Virgin, was a short Office intended to focus the reader’s devotions on the Passion of Christ, through hymns and responses that focused on his suffering on the Cross.  A depiction of the Crucifixion therefore usually introduces the Office.  In the McVitty Hours, the Crucifixion scene is a particularly detailed miniature, seemingly depicting more figures and activity than any of the others. Jesus is crucified at the center, flanked on his left by his followers and family and on the right by a Roman soldier who presides over his execution. Also visible are a number of accessory figures including a group of soldiers, and a figure on horseback. This is not only far more populated than other miniatures within the McVitty Book of Hours, but is also more complex, even, than Crucifixion scenes from relatively similar books of hours. One such manuscript, Morgan MS M.2, which is closely related in date and place of origin and bears significant stylistic similarities, contains (fol. 117v) a Crucifixion scene which makes the complexity of the McVitty Crucifixion apparent. In comparison, the Crucifixion scene in MS M.2 depicts only Christ on the cross surrounded by the Virgin Mary and the John the Evangelist, whereas the Crucifixion scene from the McVitty Book of Hours is so populated with figures and activity. This is not to say that the McVitty Crucifixion scene is entirely exceptional, merely that in comparison to others within the same manuscript and some of its contemporaries it is more detailed. &#13;
The border surrounding the miniature of the Crucifixion is one of the most striking examples of marginal illustrations found in the McVitty book of hours. While it employs many of the same colors as the other illustrations throughout the text, the quilt-like pattern and focus on larger shapes differs greatly from the rest of the illustrations in a way that could suggest a restoration or numerous illustrators. While the particular shade cornflower blue recalls other illustrations in the book, the lack of a similar red, prominent in other miniatures, and flatter colors lends itself to a striking difference. The borders surrounding this Crucifixion scene are also a great deal more geometric than the borders throughout the rest of the text. While other borders feature geometric patterns, such as the scenes of the Visitation and Adoration of the Magi, they shapes are meant to contain more organic floral patterns, whereas those in this scene contain bolder blocks of color. The difference in style between the Crucifixion and the other borders certainly complicates the question of authorship in the McVitty hours. </text>
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                <text>Citations: Bond, W. H. Supplement to the Census of Medieval and Renaissance manuscripts in the United States and Canada, no. 2</text>
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                <text>Provenance:  Presented to Hollins College, Virginia, by S. Herbert McVitty in memory of Lucy Winton McVitty, Trustee of the college from December 30, 1926 until her death August 7, 1941.</text>
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                <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact the Wyndham Robertson Library.</text>
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                <text>Part of &lt;a href="http://digitalexhibits.hollins.edu/exhibits/show/hucodex1/introduction"&gt;Miniatures from the McVitty Book of Hours&lt;/a&gt;.</text>
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France (country of origin)</text>
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                  <text>These images and text document the many and varied World War II monuments scattered across the rugged landscape of Epirus, in northwestern Greece. They also provide evidence for the strong culture of ongoing World War II commemoration in the region. What the monuments commemorate ranges from the Hellenic Army's victory over Mussolini's forces in 1940 through the role of Greek women in the war, to the victims of Nazi atrocities, and even a Communist dominated resistance organization. The collection is part of a larger project that includes scholarship on some of the memorials, and interactive mapping of all of them which will enable users to geographically locate each one, learn its historical context, and contribute to discussion about it. &lt;a href="https://digitalexhibits.hollins.edu/neatline/show/warmonumentsgreece"&gt;View the interactive map&lt;/a&gt;</text>
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                  <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: http://presslib.hollins.edu/. </text>
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                  <text>Epirus, Greece</text>
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                  <text>Christopher J. Richter, Christina Salowey</text>
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                <text>Giorgos Chouliaras (sculptor) ; The city of Ioaninna (sponsor)</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="272">
                <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: askref@hollins.edu.</text>
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                <text>This two-sided monument stands in a triangular space on the streets of Ioaninna. Two benches flank the monument and are topped with slate. One side of the monument has an [aluminum] and brass relief sculpture in five panels. The third panel, in the middle, is engraved with a dedicatory inscription (inscription 1) and a depiction of a menorah. The other side of the monument has a bronze relief sculpture depicting faces peering through two doors and a key. Below the relief is a quotation from N. Moulias (inscription 2).</text>
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                <text>ΣΤΗ ΜΝΗΜΗ ΤΩΝ 1850 ΕΒΡΑΙΩΝ ΣΥΜΠΟΛΙΤΩΝ ΜΑΣ ΠΟΥ ΣΥΝΕΛΗΦΘΗΣΑΝ ΣΤΙΣ 25 ΜΑΡΤΙΟΥ 1944 ΚΑΙ ΕΞΟΝΤΩΘΗΚΑΝ ΣΤΑ ΝΑΖΙΣΤΙΚΑ ΣΤΡ[ΑΤΟΠΕ]ΔΑ ΣΥΓΚΕΝΤΡΩΣΕΩΣ. ; In memory of our 1,850 Jewish fellow citizens who were arrested on March 25, 1944 and exterminated in the Nazi concentration camps.; Ἄγνωστε Μαστορα Ἠπειρώτη\Οἱ μοῦσες σέ κοιτάξανε καί πῆρες\ ν᾿ἀνοίξεις θησαυρούς μέ τὸ κλειδὶ\ να χτίσεις, νὰ στεριώσεις μὲ τὴν πέτρα\ ἰδανικὰ, ἀγῶνες, προκοπή. ; Unknown Epeirote Craftsman. The Muses looked after you and you were able to open the treasuries with the key, to build, to stabilize wiht ideal stones, struggles, success. N. Moulias.</text>
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                <text>metal</text>
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                  <text>Proceeding: Ann Hopkins' Victorious Battle Against Workplace Discrimination</text>
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                  <text>Price Waterhouse v. Hopkins, 490 U.S. 228</text>
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                <text>Judge Faults Firm's Sexual Stereotyping in Not Promoting Woman</text>
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                <text>Coverage from The New York Times and the Washington Post follows after a lower court ruling.</text>
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                <text>Sandra Evans</text>
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            <name>Rights</name>
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                <text>Hollins University Archives</text>
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                  <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: http://presslib.hollins.edu/. </text>
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                <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: askref@hollins.edu.</text>
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                <text>war memorials; historic sites; sculpture (visual work)</text>
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                <text>Not far from the War Museum in Kalpaki is the location of the historic site, the Strategion, or Army Headquarters, of the 8th Division, which was inhabited during the Italian invasion in October 1940.  The site is secured behind a fence and not generally open to the public. The courtyard in front of the caves in the native bedrock is paved with stoned and reinforced with a retaining wall at one side. There is one large cave opening with an excerpt from a decree of the 8th division to the right of it. There is a small wall shrine and a bust of Charalambos Katismitros, the commander,  in the courtyard.</text>
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                <text>ΤΑΚΤΙΚΟΝ ΣΤΡΑΤΗΓΕΙΟΝ ΔΙΟΚΗΤΟΥ VIII ΜΕΡΑΡΧΙΑΣ ΥΠΟΣΤΡΑΤΗΓΟΥ ΧΑΡ. ΚΑΤΣΙΜΗΤΡΟΥ ΚΑΤΑ ΤΟΝ ΕΛΛΗΝΟΙΤΑΛΙΚΟΝ ΠΟΛΕΜΟΝ 1940-1941. ; Tactical army headquarters of the 8th division under Lieutenant Charambalos Katsimitros during the Greco-Italic War 1940-41.; Απόσπασμα διαταγής VIII Μεραρχίας της 30-10-1940\ Λήξαντος του προκαλύπτικου αγώνος\ από σήμερον η μεραρχία κατέχει την\ τοποθεσίαν αγολων (?) των δυνάμεων της\ επι της τοποθεσίας ταυτης θα δόθηο\ αποφασιστικός αγών προς τον εχθρόν\ ο αγων θα διεξάχθη μετά πείσματος\ και επιμονής ακατάβλητου\ άμυνα κρατερα επι των θέσεων μας&#13;
μέχρις ισχατων\ ουδεμία ιδέα είσαι ουδένα να υπαρχη\ περί υποχωρήσεως πάντες από του\ στρατηγού διοικητου μεραρχίας μέχρι\ και του τελευταίου στρατιώτου θα άγω-\νισθομεν επι των θέσεων μας και εν\ ανάγκη θα πεσωμεν όλοι υπερασπίζο- μένοι αυτας.\ ΧΑΡΑΛ. ΚΑΤΣΙΜΗΤΡΟΣ\Υποστράτηγος ; [no translation available]</text>
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                  <text>These images and text document the many and varied World War II monuments scattered across the rugged landscape of Epirus, in northwestern Greece. They also provide evidence for the strong culture of ongoing World War II commemoration in the region. What the monuments commemorate ranges from the Hellenic Army's victory over Mussolini's forces in 1940 through the role of Greek women in the war, to the victims of Nazi atrocities, and even a Communist dominated resistance organization. The collection is part of a larger project that includes scholarship on some of the memorials, and interactive mapping of all of them which will enable users to geographically locate each one, learn its historical context, and contribute to discussion about it. &lt;a href="https://digitalexhibits.hollins.edu/neatline/show/warmonumentsgreece"&gt;View the interactive map&lt;/a&gt;</text>
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                <text>unknown sculptor|Mayor's office of Kephalovryso sponsor</text>
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                <text>Kephalovryso, Nicosia, Cyprus (spring(s))</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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                <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: askref@hollins.edu.</text>
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                <text>Outside the city office building in Kephalovryso is a war monument that still receives active wreath commemoration at the time of the celebrations of ΟΧΙ day. The low pediment, faced with marble has inscriptions listing the names of local inhabitants who died in wars Greece has been involved in. The central panel under relief stele bears a poetic inscription that is not readable at this time, and indicates the dedicator of the monument. The carved stone relief above is an abstract representation of bodies and horizontal lines.</text>
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                <text>[inscriptions were unreadable in current conditions]</text>
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            <element elementId="50">
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                  <text>Greek in the Wild: Inscriptions Explained</text>
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              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
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                  <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact the library.</text>
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                  <text>Ancient Greece</text>
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                  <text>The Archaic, Classical, and Hellenistic works of art in this collection were all displayed with an accompanying inscription in ancient Greek. The interaction between the visual image and inscribed text can illuminate the function, meaning, and impact of the artistic object. The inscriptions are epitaphs, dedications, signatures, historical records, and literary records that contextualize the artistic production of ancient Greece in a variety of ways. &lt;a href="http://digitalexhibits.hollins.edu/exhibits/show/greekinthewild/introduction"&gt;View the interactive exhibit&lt;/a&gt;.</text>
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                <text>DĀMOS: Database of Mycenaean at Oslo, "KN Co 903 (107)", https://www2.hf.uio.no/damos/Index/item/chosen_item_id/834</text>
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            <name>Identifier</name>
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            <description>A name given to the resource</description>
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                <text>Knossos Tablet ( KN 903)</text>
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>This oblong clay tablet is between 0.1 and 0.15m (4-6 inches) long and has been inscribed with Linear B. This script is a syllabic representation of ancient Greek that was used before the Phonecian alphabet arrived. Many of the tablets that have survived are ledgers of goods and animals. Clay tablets were the choice writing surface for these ledgers because the numbers on them could be erased and rewritten as often as their correlating contents circulated. These tablets were never meant to be permanent. Yet many have survived to this day because whenever there was a fire that destroyed the buildings in which these tablets were stored, the clay tablets would harden as if in a kiln and preserve what was last written. A perfect snapshot of an ancient market. This particular tablet comes from the Knossos Palace on the island of Crete. There were actually two fires at this site. This tablet was hardened during the first fire around 1500 BCE.</text>
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&#13;
TRANSLATION: "Wato Agora: 60 male sheep, 270 female sheep, 49 male goats, 130 female goats, 17 male pigs, 41 female pigs, 2 male cows, 4 female cows."</text>
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            <name>Relation</name>
            <description>A related resource</description>
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                <text>Part of &lt;a href="http://digitalexhibits.hollins.edu/exhibits/show/greekinthewild/introduction"&gt;Greek in the Wild: Inscriptions Explained&lt;/a&gt;</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="991">
                <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact the &lt;a href="http://presslib.hollins.edu/"&gt;Wyndham Robertson Library&lt;/a&gt;.</text>
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        <name>bronze age</name>
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        <name>Cretian</name>
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        <name>greek in the wild</name>
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        <name>Linear B</name>
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                  <text>These images and text document the many and varied World War II monuments scattered across the rugged landscape of Epirus, in northwestern Greece. They also provide evidence for the strong culture of ongoing World War II commemoration in the region. What the monuments commemorate ranges from the Hellenic Army's victory over Mussolini's forces in 1940 through the role of Greek women in the war, to the victims of Nazi atrocities, and even a Communist dominated resistance organization. The collection is part of a larger project that includes scholarship on some of the memorials, and interactive mapping of all of them which will enable users to geographically locate each one, learn its historical context, and contribute to discussion about it. &lt;a href="https://digitalexhibits.hollins.edu/neatline/show/warmonumentsgreece"&gt;View the interactive map&lt;/a&gt;</text>
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            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
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                  <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: http://presslib.hollins.edu/. </text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>unknown (sculptor) ; Konitsa branch of Π.Ε.Α.Ε.Α. (sponsor)</text>
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            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>Kónitsa, Ioánnina, Epirus, Greece</text>
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                <text>Twentieth Century</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="365">
                <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: askref@hollins.edu.</text>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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            <name>Title</name>
            <description>A name given to the resource</description>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>At the top of the pass, a stone-built base faced with a marble dedicatory plaque is topped with a stone-carved relief depicting an andartes-style fighter. The monument is surrounded with a iron fence. The marble plaque lists four deceased ELAS fighters. A Greek flag marks the spot as well.</text>
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                <text>ΣΤΗ ΜΝΗΜΑ ΤΩΝ ΑΓΩΝΙΣΤΩΝ ΤΟΥ Ε.Λ.Α.Σ. ΠΟΥ ΕΠΕΣΑΝ ΑΠΟ ΤΑ ΒΟΛΙΑ ΤΩΝ ΓΕΡΜΑΝΩΝ ΝΑΖΙ ΣΤΙΣ 26-7-1943. \ΑΡΧΙΜΑΝΤΡΙΤΗΣ ΛΑΜΠΡΟΣ\ ΕΤΩΝ 21 ΚΟΝΙΤΣΑ \ ΓΙΟΥΣΙΟΣ ΧΡΗΣΤΟΣ \ ΕΤΩΝ 28 ΚΟΝΙΤΣΑ \ ΕΥΑΓΓΕΛΟΥ ΠΑΝΤΕΛΗΣ \ ΕΤΩΝ 22 ΚΟΝΙΤΣΑ \ ΜΕΣΣΗΣ ΣΤΕΡΓΙΟΣ \ ΕΤΩΝ 38 ΠΑΔΕΣ ; To the memory of the ELAS fighter who fell from the bullets of the German Nazis on July 26, 1943: Lambros Archimantritis, 21 years of age, Konitsa; Christos Giousios, 28 years of age, Konitsa; Pantelis Evangelou, 22 years of age, Konitsa; Stergios Messis, 38 years of age, Pades.</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="386">
                <text>stone (rock); marble (rock)</text>
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                <text>outdoor sculpture</text>
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                  <text>These images and text document the many and varied World War II monuments scattered across the rugged landscape of Epirus, in northwestern Greece. They also provide evidence for the strong culture of ongoing World War II commemoration in the region. What the monuments commemorate ranges from the Hellenic Army's victory over Mussolini's forces in 1940 through the role of Greek women in the war, to the victims of Nazi atrocities, and even a Communist dominated resistance organization. The collection is part of a larger project that includes scholarship on some of the memorials, and interactive mapping of all of them which will enable users to geographically locate each one, learn its historical context, and contribute to discussion about it. &lt;a href="https://digitalexhibits.hollins.edu/neatline/show/warmonumentsgreece"&gt;View the interactive map&lt;/a&gt;</text>
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                <text>unknown sculptor|Greek Army sponsor</text>
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                <text>Kónitsa, Ioánnina, Epirus, Greece</text>
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                <text>Epirus, Greece</text>
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                <text>Twentieth Century</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="366">
                <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: askref@hollins.edu.</text>
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                <text>epirus_konista_military_mausoleum</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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                <text>1940-1941, 1946-1949 (Date of Event) ; unkonwn (date of construction)</text>
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            <description>A name given to the resource</description>
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                <text>Konitsa Military Mausoleum</text>
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                <text>An expansive plaza in the woods with a paved area and a stone built memorial with a cross acting as an altar for the fallen. The mausoleum commemorates both the ItaloElleniko War of 1940-41 and the Civil Wars in the region. The complex also contains a tumulus-style mound capped with the tomb of Michael Anagnos, a.k.a. Michael Anagnostopoulos (1837-1906), who was a pioneer for education for the blind and head of the Perkins School in Boston, MA USA. He was married to Julia Romana Howe, the daughter of Samuel Howe and Julia Ward Howe.</text>
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                <text>ΚΑΛΑΜΑΣ-ΕΛΑΙΑ-ΠΙΝΔΟΣ 1940-41 \ ΓΡΑΜΜΟΣ-ΖΑΓΟΡΙΑ-ΜΟΥΡΓΚΑΝΑ-ΚΟΝΙΤΣΑ 1946-49 ;  [Battles of] Kalamas, Elaia, Pindos 1940 - 41; [Battles of] Zagoria, Mourgana, Konitsa 1946-49.; ΜΝΗΜΕΙΟ ΠΕΣΟΝΤΩΝ \ ΥΠΕΡ ΒΩΜΩΝ ΚΑΙ ΕΣΤΙΩΝ \ ΓΙΑ ΤΟΥΣ ΑΓΩΝΕΣ \ ΤΟΥ ΕΘΝΟΥΣ ; A monument of the fallen\above altars and hearths for the struggles of the nation.</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="384">
                <text>stone (rock)</text>
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            <element elementId="50">
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                  <text>WWII Monuments in Epirus, Greece</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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                  <text>These images and text document the many and varied World War II monuments scattered across the rugged landscape of Epirus, in northwestern Greece. They also provide evidence for the strong culture of ongoing World War II commemoration in the region. What the monuments commemorate ranges from the Hellenic Army's victory over Mussolini's forces in 1940 through the role of Greek women in the war, to the victims of Nazi atrocities, and even a Communist dominated resistance organization. The collection is part of a larger project that includes scholarship on some of the memorials, and interactive mapping of all of them which will enable users to geographically locate each one, learn its historical context, and contribute to discussion about it. &lt;a href="https://digitalexhibits.hollins.edu/neatline/show/warmonumentsgreece"&gt;View the interactive map&lt;/a&gt;</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="520">
                  <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: http://presslib.hollins.edu/. </text>
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              </elementTextContainer>
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              <name>Subject</name>
              <description>The topic of the resource</description>
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                  <text>Greece</text>
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              <name>Coverage</name>
              <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                  <text>Epirus, Greece</text>
                </elementText>
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              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
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                  <text>Christopher J. Richter, Christina Salowey</text>
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      <name>Physical Object</name>
      <description>An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types.</description>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Konstantinos D. Raptis architect|Dr. Konstantinos G. Stasinopoulos, distinguished member of the Lesche of L.O.K. sponsor</text>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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                <text>Kalpaki-Konitsa road</text>
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                <text>39.967014</text>
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                <text>20.645420</text>
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            <description>The topic of the resource</description>
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                <text>Epirus, Greece</text>
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                <text>Twentieth Century</text>
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          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="364">
                <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: askref@hollins.edu.</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>war memorials</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>epirus_konista_pass_monument</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Konitsa Pass Monument</text>
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            <description>An account of the resource</description>
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                <text>A monument dedicated to the fallen heroes of Greece stands at the high point of the pass between Kalpaki and the Aoos River Valley. The monument is a pillar of triangular shape, i.e. with three sides, two of which bear a poetic inscription. The top of the pillar is marked by a bronze cross and each side bears military insignia. The architect and sponsorship of the monument are noted. Flags flank the podium on which the monument stands. There is a view of the Aoos River Valley from the spot.</text>
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                <text>Ω ΓΝΗΣΙΑ ΤΗΣ ΕΛΛΑΔΟΣ\ ΤΕΚΝΑ ΨΥΧΑΙ ΠΟΥ\ ΕΠΕΣΑΤΕ ΕΙΣ ΤΟΝ\ ΑΓΩΝΑ ΑΝΔΡΕΙΩΣ\ ΤΑΓΜΑ ΕΚΛΕΚΤΩΝ\ ΗΡΩΩΝ ΚΑΥΧΗΜΑ ΝΕΟΝ. \ ΑΝΔΡΕΑΣ ΚΑΛΒΟΣ ; O, genuine children of Greece, souls, you who fell in the struggle bravely, battalion of the chosen, new pride and joy of heroes. Andreas Kalvos.; ΑΣ ΜΗ ΒΡΕΞΗ ΠΟΤΕ\ ΤΟ ΣΥΝΝΕΦΟΝ ΚΑΙ\ Ο ΑΝΕΜΟΣ ΣΚΛΗΡΟΣ\ ΑΣ ΜΗ ΣΚΟΡΠΙΣΗ\ ΤΟ ΧΩΜΑ ΤΟ ΜΑΚΑΡΙΟΝ\ ΠΟΥ ΣΑΣ ΣΚΕΠΑΖΕΙ. ΑΝΔΡΕΑΣ ΚΑΛΒΟΣ ; Let not a cloud wet nor a hard wind scatter this blessed earth which covers you. Andreas Kalvos.</text>
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            <name>Format</name>
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                <text>stone (rock)</text>
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                <text>stone-built</text>
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