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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>Konstantinos D. Raptis architect|Dr. Konstantinos G. Stasinopoulos, distinguished member of the Lesche of L.O.K. sponsor</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>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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                <text>stone (rock)</text>
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                <text>Partnership Awarded in Bias Case</text>
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                <text>After her Supreme Court victory, Hopkins was awarded a partnership by a lower court. A variety of publications covered the news, some commenting on how challenging it would be to return to an organization that she took to court.</text>
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                <text>Laurie Cohen</text>
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                <text>The warrior monument is erected on a hill outside the village of Kalpaki at the intersection of the major roughly N-S route from Ioaninna to Kozani (and the Albanian border just beyond) and a smaller road that is the northern route into the tortuous mountain byways that partially ring the Vikos gorge and lead to the northern Zagorian villages of Aristi, the Papingos and the eponymous Vikos. The monument is accessible both by car on a macadam road, and on a well-maintained stone walkway that processes up from the back streets of the village. A massive (roughly 5.5 meters) bronze statue of a helmeted, caped, and armed man stands on a high (~ 1.5 meters), irregularly shaped pedestal that also serves as an ossuary. The statue and base are situated in the middle of a large plaza with a decorative pavement composed of slate stones bordered by a marble edging that forms both regularly geometric panels and shard-like projections through the design. The composition accommodates distant viewing and a close-up experience with room for a large crowd. The bronze statue faces NW, looking out towards the Albanian border, and faces a hillside in the distance with the word OXI marked out in white stones. His military accoutrement includes boots, rifle with bayonet, and helmet. His bulk is accentuated by the large sweeping poncho that encloses him and obscures the outline of the human body. His attire is easily identified as the characteristic thick hide and wool shepherd’s cloak, kopanos in Greek or sheath.</text>
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                <text>ΣΗΜΑΤΡΟ ΔΟΞΑΣ ΣΚΟΥΡΙΑΣΜΕΝΟ ΑΠ' ΤΟΝ ΚΑΙΡΟ\ ΧΤΥΠΗΣΕΣ ΜΕ ΤΟ ΧΕΡΙ ΤΗΝ ΑΣΠΙΔΑ\ ΚΙ ΑΝΑΨΕΣ ΤΗΝ ΣΒΥΣΜΕΝΗ ΦΛΟΓΑ ΣΤΟ ΙΕΡΟ\ ΤΙΝΑΧΤΗΚΕ ΑΠ' ΤΟ ΚΑΛΕΣΜΑ ΣΟΥ ΤΟ ΦΤΕΡΟ\ ΤΗΣ ΝΙΚΗΣ ΓΥΜΝΗ  ΠΡΟΒΑΛΕ Η ΛΕΠΙΔΑ\ ΣΠΑΘΙΩΝ ΚΙ ΑΚΟΥΣΤΗΚΕ ΑΠΟ ΝΕΩΝ ΗΡΩΩΝ ΧΟΡΟ \ ΤΩΝ ΠΕΡΣΟΜΑΧΩΝ Ο ΥΜΝΟΣ Ω ΠΑΤΡΙΔΑ.\ Γ. ΔΡΟΣΙΝΗΣ ; the bell of fame rusty from weather you struck with your hand the shield and you lit the snuffed out flame in the sanctuary the wing of victory was shaken by your invitation naked appeared the blade of swords and a hymn of fighters was heard from a land of new heroes – O Country! G. Drosinis; ΨΑΛΜΟΥΣ ΓΙΑ ΣΑΣ ΠΟΙΟΣ ΝΟΙΩΘΕΙ ΤΕΤΟΙΑ ΔΥΝΑΜΗ\ΤΕΤΟΙΑ ΦΤΕΡΑ ΠΟΙΟΣ ΚΕΡΙΝΑ ΦΟΡΕΙ ΤΟΥ ΙΚΑΡΟΥ\ ΚΑΙ ΠΟΙΑ ΘΑ ΠΗ ΤΑ ΚΛΕΑ ΣΑΣ ΛΥΡΑ ΑΙΣΧΥΛΙΑ\ ΤΑ ΠΡΟΠΑΙΑ ΠΟΙΟΣ ΟΜΗΡΟΣ ΚΑΙ ΦΟΡΜΙΓΓΑ ΠΙΝΔΑΡΟΥ ; Psalms for you who feels such power, who carries the waxen wings of Ikaros, and what Aeschylean lyra will speak your famous deeds, What Homer and what phorminx of Pindar your trophies.</text>
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                <text>bronze (metal); stone (rock)</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>
              <elementTextContainer>
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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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              <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>
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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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      <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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                <text>Leontis Eustathios of Patras (sculptor) ; unknown (sponsor)</text>
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                <text>Ligiades</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>
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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; martyr monument; list of names</text>
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            <description>An unambiguous reference to the resource within a given context</description>
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                <text>October 3, 1943 (Date of Event) ; 2001 (Date of Construction)</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Ligiades Martyr Monument</text>
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                <text>This matyr monument is located in the unusual two-level plateia near the entrance to the village of Ligiades on a prominent spur of land, overlooking Ioaninna, the lake, and the plain, with Mt. Mitsikeli as a backdrop. Rising out of a  a low, marble-clad parapet that can serve as a bench is a taller section of wall that bears two inscriptions and a bronze relief. In front of the wall is an overlife-sized, free-standing bronze statue of a woman. The inscriptions provide  the name of the village,  the date of the event commemorated, 3 October 1943, and a list of names of the victims in two columns, both here in Ligiades and at Amphithea. The triangular compostion of the bronze relief focuses attention on the tall, veiled figure in the center, who cradles a clearly dead child in his arms. Situated at his feet are a tumble of slumped humans, both dead and alive, of various genders and ages. Hands claw their way out from under a pile of bodies, reaching up towards the standing male figure.  A swatch of cloth at the left edge drapes off the edge of the platform and extends to the inscription, linking the victims’ names with this chilling representation in bronze.  The free-standing bronze of the woman is to the right of the relief, and at a right angle to the plane of the wall. She stands, head erect, face devoid of emotion, bearing a garland in outstretched hands. Her head is draped, and she is clothed in an archaizing dress, bordered with a running wave motif, attire evocative of the ancient past. Her skirt and her base are two of the three places that the sculptor has placed his signature, utilizing an ancient formula that when read, makes the sculpture speak: γλυπτης Λεοντης Ευσταθιος Πατρευς  μ’εποιησε  (“the sculptor Leontis Eustathios of Patras made me”).</text>
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                <text>ΤΑ ΘΥΜΑΤΑ ΤΗΣ ΘΗΡΙΩΔΙΑΣ ΤΩΝ ΓΕΡΜΑΝΟΝΑΣΙΣΤΩΝ ; The victims of the barbarity of the German Nazis.; ΕΠΙΘΕΤΟ  ΟΝΟΜΑ  ΕΤΩΝ\ ΑΥΓΕΡΗ Χ  ΕΛΕΝΗ  42\ ΓΕΡΑΚΟΣ Α  ΕΛΕΥΘΕΡΙΟΣ 30\ ΓΕΡΑΚΟΥ  ΑΡΙΣΤΟΤΟΥΛΑ  28\  ΓΕΡΑΚΟΣ  ΓΕΩΡΓΙΟΣ  6\ ΓΕΡΑΚΟΥ  ΜΑΡΙΑ  4\ ΓΕΡΑΚΟΣ  ΧΡΗΣΤΟΣ  2\ ΓΕΡΑΚΟΣ  ΧΡΗΣΤΟΣ  78\ ΓΕΡΑΚΟΥ ΕΥΑΓΓΕΛΙΑ  74\  ΓΕΡΑΚΟΥ ΕΛΕΝΗ  35\ ΓΕΡΑΚΟΣ  ΧΡΗΣΤΟΣ  11\ ΓΕΡΑΚΟΥ  ΟΛΓΑ  6\ ΖΩΤΟΣ  ΣΤΑΥΡΟΣ  56\ ΖΩΤΟΥ  ΜΑΡΙΑ  54\ ΖΩΤΟΥ ΦΩΤΕΙΝΗ  6\ ΖΩΤΟΥ  ΞΑΝΘΗ  4\ ΚΑΤΣΑΡΟΥ  ΒΑΣΙΛΙΚΗ  40\ ΚΑΤΣΑΡΟΥ  ΑΙΚΑΤΕΡΙΝΗ  18\ ΛΑΠΠΑ  ΕΛΕΝΗ  60\ ΛΑΠΠΑ  ΜΑΡΙΝΑ  28\ ΛΑΠΠΑΣ ΣΤΑΘΗΣ  8\ ΛΑΠΠΑ ΑΙΚΑΤΕΡΙΝΗ  5\ ΛΑΠΠΑ  ΠΑΡΑΣΚΕΥΗ  7\ ΛΙΟΥΡΗ  ΛΑΜΠΡΙΝΗ  57\ ΛΙΟΥΡΗΣ  ΑΧΙΛΛΕΑΣ  1\ ΛΙΟΥΡΗ  ΕΛΕΥΘΕΡΙΑ  30\ ΛΙΟΥΡΗ  ΑΙΚΑΤΕΡΙΝΗ  11\ ΛΩΛΗ  ΑΓΓΕΛΙΚΗ  63\ ΛΩΛΗΣ  ΘΕΟΔΩΡΟΣ  90\ ΛΩΛΗ  ΑΙΚΑΤΕΡΙΝΗ  68\ ΛΩΛΗΣ  ΒΑΣΙΛΕΙΟΣ  30\ ΛΩΛΗ  ΤΑΡΙΣΙΤΣΑ  30\ ΛΩΛΗ  ΠΑΝΑΓΙΩ  18\ ΛΩΛΗ  ΠΑΡΑΣΚΕΥΗ  7\ ΛΩΛΗΣ  ΛΕΩΝΙΔΑΣ  5\ ΛΩΛΗΣ  ΓΕΩΡΓΙΟΣ  5\ ΛΩΛΗ  ΑΒΑΠΤΙΣΤΟ  4 ΜΗΝΩΝ\ ΜΠΑΤΕΤΣΗ  ΕΛΕΝΗ  36\ ΜΠΑΤΕΤΣΗΣ ΘΕΟΦΑΝΗΣ  5\ ΜΠΑΤΕΤΣΗ  ΕΥΔΟΞΙΑ  3\ ΜΑΝΘΟΥ  ΠΑΡΑΣΚΕΥΗ  34\ ΜΠΑΛΑΣΚΑ  ΜΑΡΙΝΑ  42\ ΜΠΑΛΑΣΚΑ  ΔΗΜΗΤΡΑ  6\ΜΠΑΜΠΟΥΣΚΑ  ΕΛΕΝΗ  30\ ΜΠΑΜΠΟΥΣΚΑΣ ΙΩΑΝΝΗΣ  5\ ΜΑΡΑΦΑ  ΓΙΑΝΝΟΥΛΑ  42\ ΜΑΡΑΦΑ  ΜΑΡΙΝΑ  58\ ΜΑΣΤΟΡΑ  ΒΑΣΙΛΙΚΗ  45\ ΠΑΓΙΔΑΣ ΒΑΣΙΛΕΙΟΣ  65\ ΠΑΓΙΔΑ ΓΕΩΡΓΙΤΣΑ  58\ ΠΑΓΙΔΑΣ  ΚΩΝΣΤΑΝΤΙΝΟΣ  15\ ΠΑΠΠΑΣ  ΚΩΝΣΤΑΝΤΙΝΟΣ  87\  ΠΑΠΠΑ  ΠΑΡΑΣΚΕΥΗ  9\  ΠΑΠΠΑ  ΞΑΝΘΗ  7\  ΠΑΠΠΑ  ΣΕΒΑΣΤΗ  5\  ΠΑΠΠΑΣ  ΝΙΚΟΛΑΟΣ  3\ ΠΕΤΡΟΥ  ΝΙΚΟΛΑΟΣ  68\ ΠΕΤΡΟΥ  ΑΝΝΑ  60\ ΠΕΤΡΟΥ  ΧΡΙΣΤΟΔΟΥΛΟΣ  48\ ΠΕΤΡΟΥ  ΖΩΙΤΣΑ  38\ ΠΕΤΡΟΥ  ΓΕΩΡΓΙΟΣ  13\ ΡΟΥΣΚΑΣ  ΔΗΜΗΤΡΙΟΣ  61\ ΡΟΥΣΚΑ  ΟΛΓΑ  2\ ΣΙΑΦΑΚΑΣ ΝΙΚΗΤΑΣ  3\ ΤΟΛΗ  ΠΑΝΑΓΙΩ  60\ ΤΣΕΡΙΚΗ  ΒΑΣΙΛΙΚΗ  16\ ΤΣΕΡΙΚΗΣ  ΙΩΑΝΝΗΣ  36\ ΤΣΕΡΙΚΗ  ΑΓΓΕΛΙΚΗ  35\ ΤΣΕΡΙΚΗ  ΦΩΤΕΙΝΗ  9\ ΤΣΕΡΙΚΗΣ  ΧΡΗΣΤΟΣ  7\ ΤΣΕΡΙΚΗ  ΕΥΑΓΓΕΛΙΑ  5\ ΤΣΕΡΙΚΗ  ΜΑΡΙΑ  3\ ΤΣΟΥΚΑΣ  ΑΦΡΟΔΙΤΗ  7\ ΦΟΥΚΑ  ΑΓΓΕΛΙΚΗ  65\ ΦΟΥΚΑ  ΠΑΡΑΣΚΕΥΗ  4\ ΦΟΥΚΑΣ  ΒΑΣΙΛΕΙΟΣ  5\ ΦΟΥΚΑ ΕΛΕΥΘΕΡΙΑ  1\ ΦΟΥΚΑ  ΜΑΡΙΑ  60\ ΦΟΥΚΑΣ  ΧΡΗΣΤΟΣ  63\ ΧΟΛΕΒΑΣ  ΔΗΜΗΤΡΙΟΣ  66\ ΧΟΛΕΒΑ  ΛΑΜΠΡΙΝΗ  38\ ΧΟΛΕΒΑ  ΓΕΩΡΓΙΤΣΑ  9\ ΧΟΛΕΒΑΣ  ΝΙΚΟΛΑΟΣ  7\ ΧΟΛΕΒΑΣ  ΑΛΕΞΙΟΣ  4\ ΤΗΝ ΙΔΙΑ ΗΜΕΡΑ ΟΛΟΚΑΗΡΩΣΑΝ ΤΗΝ ΣΦΑΓΗ ΚΑΙ ΣΤΗΝ ΑΜΦΙΘΕΑ\ ΚΟΛΟΚΑ ΜΑΡΙΑ ΣΥΖΗΓΟΣ ΘΩΜΑ  37\ ΚΟΛΟΚΑ  Θ  ΕΛΕΝΗ  7\ ΚΟΛΟΚΑΣ  Θ  ΒΑΣΙΛΕΙΟΣ  5 ; [Surnames and names and ages of the victims]</text>
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                <text>After the Supreme Court decision, Hopkins was awarded a partnership at Price Waterhouse.  These letters and memos congratulate her courage for taking the job—acknowledging how difficult it might be to return.  Also, included are memos from her World Bank colleagues where she was employed at the time of the decision. Finally, there are a few memos from Price Waterhouse, illustrating that it may indeed be challenging to return.</text>
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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 the library.</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>Mosaic of Zeus and Ganymede</text>
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                <text>tesserae (mosaic components)</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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            <element elementId="47">
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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>Athens, Periféreia Protevoúsis, Greece</text>
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                <text>The J. Paul Getty Museum, "Attic Black-Figure Eye Cup", https://www.getty.edu/art/collection/objects/11896/attributed-to-the-painter-of-the-villa-giulia-63613-signed-by-nikosthenes-attic-black-figure-eye-cup-greek-attic-about-530-bc/?dz=#e48fc216ee9f0349aa6ebfa101ba5bf2831c0d35</text>
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                <text>black-figure (pottery)</text>
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                <text>530-510 BCE</text>
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                <text>Pria Jackson, Tina Salowey (photo)</text>
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&#13;
There are three figures painted on the reverse of the cup that are not pictured here. Their identities are not as easily deduced but can be viewed at the Getty Museum online catalog for the item (see sources below).</text>
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&#13;
Transcribed: Νικόσθενες ἐποίεσεν  &#13;
&#13;
Translation: "Nikosthenes made it."</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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                <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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              <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>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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                <text>Seth Estrin, "Cold Comfort: Empathy and Memory in an Archaic Funerary Monument from Akraiphia." Classical Antiquity, vol 35, no 2 (2016) 189-214; Jeffrey Henderson, The Maculate Muse. (rev. Ed. 1991)</text>
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            <name>Date</name>
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            <description>A name given to the resource</description>
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                <text>Pria Jackson, Tina Salowey (photo)</text>
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            <description>An account of the resource</description>
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                <text>This grave stele marks the tomb of a young man named Mnasitheos. His likeness is depicted in a high relief on the stone unclothed and in profile facing left. He stands on a predella with legs separated as if walking forward. With his right hand, he holds a small flower bud up to his nose. The viewer can infer that the flower's scent is pleasing because he is carved to have an archaic smile. Archaic smiles like these were commonly used by 6th-century Greek sculptors to infuse a sense of liveliness and good cheer into their works.&#13;
&#13;
Mnasitheos, with his left hand, holds a rooster before him, covering his groin region. Male sexual organs were lewdly linked in Attic Greek with many animals including sparrows but the word rooster (ἀλέκτωρ) cannot stand in for any of the many ancient words for penis making it unlikely that the sculptor was playing with his words. Rather these symbols, the flower and the rooster, are motifs of a common type of love-gift given by erastes (ἐραστής) to their young eromenos' (ἐρώμενος). The practice of giving these gifts was likely been in reference to the god Eros' connection with the bird.&#13;
&#13;
Underneath the feet of the rooster, the following inscription is written "ΜΝΑΣΙΘΕΙΟ:ΜΝΕΜΕΙ/ΜΙ ΕΠΟΔΟΙ:ΚΑΛΟΝ / ΑΛΑΜΕΘΕΚΕΝ:ΠΥΡΙ / ΨΟΣ:ΑΡΨΑΙΕΣ:ΑΝΤΙ / ΦΙΛΕΜΟΣΥΝΕΣ."  Another inscription is written beneath the ledge on which Mnasitheos stands. It reads "ΦΙΛΟΡΓΟΣ: ΕΠΟΙΕΕΝ."</text>
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                <text>ON STONE: ΜΝΑΣΙΘΕΙΟ:ΜΝΕΜΕΙ /  ΜΙΕΠΟΔΟΙ:ΚΑΛΟΝ / ΑΛΑΜΕΘΕΚΕΝ:ΠΥΡΙ / ΨΟΣ:ΑΡΨΑΙΕΣ:ΑΝΤΙ / ΦΙΛΕΜΟΣΥΝΕΣ / ΦΙΛΟΡΓΟΣ:ΕΠΟΙΕ / ΕΝ &#13;
&#13;
TRANSCRIBED: Μνασιθείο: μνɛμ ’ εἰμὶ ἐπ’ ὀδõι: καλόν: ἀλά μ’ ἔθεκεν: Πύριχος: ἀρχαίες: ἀντὶφιλεμοσύνες. Φιλορος ἐποίε&lt;σ&gt;εν&#13;
&#13;
TRANSLATION: "Of Mnasitheos, I am the lovely remembrance on the road. Ah, but Pyrichos erected me here for old times sake. Philorgos made it."</text>
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                <text>marble (rock)</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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United States</text>
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