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                  <text>Proceeding: Ann Hopkins' Victorious Battle Against Workplace Discrimination</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>Thebes, Boeotia, Central Greece and Euboea, Greece</text>
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                <text>https://www.mfa.org/collections/object/mantiklos-apollo-152660</text>
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                <text>Mantiklos "Apollo"</text>
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                <text>700–675 B.C.E.</text>
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                <text>Mantiklos "Apollo"</text>
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                <text>Amelia Verkerk; Christina Salowey (photograph)</text>
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                <text>Mantiklos “Apollo” is an 8 inch (20.3 cm) bronze votive statuette of Apollo. The statuette is an offering to the god, Apollo, and is missing his right arm and lower half of his legs. In his left hand, there is a hole, possibly once held a bow. His body is disproportionate as was common in early Greek sculpture. He has an elongated neck supported by his long hair and large chest. His waist narrows down to his thighs and crotch which is where the inscription is. The inscription begins on his right thigh, moving towards his crotch before curving around to his left thigh. The letters then curl up back up to the crotch before ending on the right thigh. This type of script is called boustrophedon. The inscription is dedicated to the god Apollo, making this a dedicatory inscription. Votive offerings were used to thank the gods and their dedicatory inscriptions often used the verb ’ανέθηκε (dedicated) and the noun δεκάτας (tithe), which both are inscribed on Mantiklos “Apollo”. </text>
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                <text>ΜΑΝΤΙΚΛΟΣΜΑΝΕΘΕΚΕFΕΚΑΒΟΛΟΙΑΡΓΥΡΟΤΟΧΣΟΙΤΑΣΔΕΚΑΤΑΣΤΥΔΕΦΟΙΒΕΔΙΔΟΙΧΑΡΙFΕΤΤΑΝΑΜΟΙΙ (on the statuette) Μάντικλος μ’ ’ανέθηκε ϝεκαβόλοι ’αργυρτόξσοι τάς δεκάτας. τύ δέ Φοίβε δίδοι χαρίϝετταν ’αμοί (transcribed) Mantiklos dedicated me as a tithe to the far-shooting, silver-bowed one. You, Phoebus, might give most favorable things to me. (translation)</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>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>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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      <name>Still Image</name>
      <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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            <name>Creator</name>
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                <text>[unknown]</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>Gouménissa, Kilkís, Macedonia, Greece</text>
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                <text>Gouménissa, Kilkís, Macedonia, Greece</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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              <elementText elementTextId="804">
                <text>Greece trash can</text>
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                <text>Greek (modern)</text>
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          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
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                <text>Greek</text>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>utilitarian objects</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>monastery_goumenissa</text>
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          <element elementId="40">
            <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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              <elementText elementTextId="809">
                <text>2011 [photographed]</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Monastery of Aghia Panaghia Goumenissa</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions 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 modern inscription is written on a trash can that was found outside of a monastery in Gouménissa. This inscription is a common Greek phrase associated with the Eastern Orthodox Church that is thought to have originated from Saint Gregory of Nazianzus (c. 329 BCE - Jan 25 390 BCE). The inscription, "ΝΙΨΟΝ ΑΝΟΜΗΜΑΤΑ ΜΗ ΜΟΝΑ ΝΟΨΙΝ," is a palindrome which means it can be read the same way backward and forwards. &#13;
&#13;
This phrase can be found inscribed outside of many churches around the world. Most notably, a mosaic of the phrase arches over the holy water font outside the church of Hagia Sophia in Constantinople. This phrase is always found beside water-related iconography or near holy fonts outside of churches because it is a common practice for members of the church to have to cleanse oneself with holy water before entering church space. That tradition is maintained here by having an amphora painted below the words.</text>
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                <text>ON CAN: ΝΙΨΟΝ ΑΝΟΜΗΜΑΤΑ ΜΗ ΜΟΝΑ ΝΟΨΙΝ&#13;
&#13;
TRANSCRIPTION: Νίψον ανομήματα μη μόναν όψιν.&#13;
&#13;
TRANSLATION: "Wash the sins, not only the face."</text>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="814">
                <text>stucco; acrylic paint</text>
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                <text>hand-painted</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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            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="983">
                <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>greek in the wild</name>
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        <name>inscriptions</name>
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        <name>modern</name>
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        <name>palindromes</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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              <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>
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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>
                </elementText>
              </elementTextContainer>
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            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
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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>
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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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    <elementSetContainer>
      <elementSet elementSetId="1">
        <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>
        <elementContainer>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="388">
                <text>unknown (sculptor) ; Moni Sosinou (sponsor)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <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>
            <elementTextContainer>
              <elementText elementTextId="391">
                <text>Moni Sossinou</text>
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              <elementText elementTextId="394">
                <text>38.837784</text>
              </elementText>
              <elementText elementTextId="397">
                <text>20.547050</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="400">
                <text>Epirus, Greece</text>
              </elementText>
              <elementText elementTextId="403">
                <text>Twentieth Century</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="406">
                <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>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="409">
                <text>war memorials</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="412">
                <text>epirus_moni_sossinou_monument</text>
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            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="415">
                <text>October 30, 1940 (Date of Event) ; unknown (date of construction)</text>
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          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="418">
                <text>Moni Sossinou Monument</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="421">
                <text>The monument is placed at the top of Sosinos Hill, which is the site of Moni Sosinou and commands a spectacular view over the Kalamas River valley, the site of the early battles of the Italo-Elleniko War in 1940-41. The truncated pyramid is topped with a bronze cross and bears a bronze commemorative plaque. The monument stands at the western end of a stone-built plaza with incorporated benches, trees for shade, and stairs to a semi-circular overlook point. The monument is the site of yearly wreath commemorations.</text>
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                <text>ΑΠΟ ΤΗΝ Ι[ΕΡΑ] ΜΟΝΗ ΣΟΣΙΝΟΥ\ ΔΟΘΗΚΑΝ ΟΙ ΣΥΝΤΕΤΑΓΜΕΝΕΣ\ ΚΑΙ ΗΛΘΕ Η ΠΡΩΤΗ ΝΙΚΗ ΤΗΣ ΕΛΛΑΔΟΣ\ ΣΤΙΣ 30-10-1940\ΠΟΛΕΜΙΣΤΕΣ\ ΕΥΡΥΣΘΕΝΗΣ ΣΤΕΦ. ΤΖΙΑΛΛΑΣ\ΕΦΕΔΡΟΣ ΥΠΟΛΟΧΑΓΟΣ\ΧΡΗΣΤΑΚΗΣ ΝΙΚΟΛΑΟΣ\ ΛΟΧΙΑΣ\ΣΤΡΑΤΙΩΤΕΣ\ ΚΑΤΣΑΝΟΣ ΕΥΑΓΓΕΛΟΣ\ ΣΕΡΡΑΣ ΑΠΟΣΤΟΛΟΣ\ ΣΙΑΦΑΚΑΣ ΧΑΡΑΛΑΜΠΟΣ\ ΜΠΟΥΤΣΟΥΡΗΣ ΕΥΣΤΑΘΙΟΣ\ΓΙΑΝΝΟΣ ΣΤΑΥΡΟΣ\ ΝΙΚΟΛΑΟΥ ΧΡΗΣΤΟΣ ; From the holy Monastery of Sosinos. The coordinates had been given and the first victory of Greece on October 30, 1940. Warriors: Eurysthenes Stephanos Tziallas, reserve Lieutenant; Nikolaos Christakis, Sergeant; Soldiers; Evangelos Katsanos, Apostolos Serras, Charlambos Siafakas, Eustathios Boutsouris, Stauros Giannos, Christos Nikolaou.</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="427">
                <text>stone (rock); bronze (metal)</text>
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                <text>stone-built</text>
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          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="523">
                  <text>Greek in the Wild: Inscriptions Explained</text>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="524">
                  <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>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="38">
              <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>Ancient Greece</text>
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            <element elementId="41">
              <name>Description</name>
              <description>An account of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="526">
                  <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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            <element elementId="37">
              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="562">
                  <text>Pria Jackson, Amanda McVey, Amelia Verkerk, Tina Salowey</text>
                </elementText>
              </elementTextContainer>
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    <itemType itemTypeId="6">
      <name>Still Image</name>
      <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>
    </itemType>
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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>
        <elementContainer>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
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                <text>Neikias </text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <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>
            <elementTextContainer>
              <elementText elementTextId="772">
                <text>Antioch, Hatay Ili, Akdeniz kıyısı, Turkey</text>
              </elementText>
              <elementText elementTextId="773">
                <text>New York, New York, United States</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="774">
                <text>Imperial (Roman)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="775">
                <text>Ancient Greek</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="776">
                <text>mosaic (process)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="777">
                <text>Mosaic of Zeus and Ganymede</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="778">
                <text>2nd century CE</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="779">
                <text>Mosaic of Zeus and Ganymede</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="780">
                <text>Amelia Verkerk; Christina Salowey (photograph)</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Hollins University Archives</text>
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                <text>Standing at 1.75m tall, this statue, so-called Nikandre, is wearing a dress with a wide belt at the waist. Her hair is parted into two large sections, one on either shoulder, and her hands rest at her sides. The lower part of her right arm is missing and there is a crack in her waist. The inscription runs down the lower left side of her body, and the text is written in boustrophedon. The dedication to Apollo makes this statue a votive offering. </text>
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                <text>Νικάνδρη μἀνεθεκεν ἑκηβόλοι ἰοχεαίρηι Κόρη Δεινοδίκηο τῶ Ναησίο ἒησοχος ἀλήον Δεινομένεος δὲ κασιγνέτη Φηράησο δ᾽ ἂλοχος ν[ῦν] (transcription) Nikandre, daughter of Deinodikos of Naxos, excellent among others, sister of Deinomenes, now wife of Phraxos, dedicated me to the far-shooter, the arrow-pourer. (translation) </text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>Parian marble</text>
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                <text>sculpture</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">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="976">
                <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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                  <text>Greek in the Wild: Inscriptions Explained</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="524">
                  <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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              <name>Contributor</name>
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                  <text>Pria Jackson, Amanda McVey, Amelia Verkerk, Tina Salowey</text>
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            <name>Creator</name>
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                <text>unknown </text>
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                <text>Thebes </text>
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                <text>Thebes (Greece) </text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>nymphs</text>
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                <text>Ancient Greek</text>
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            <name>Type</name>
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                <text>Votive offering </text>
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            <name>Identifier</name>
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                <text>theban_nymphs_01</text>
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            <name>Date</name>
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                <text>4th century BCE</text>
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                <text>Nymph Dedication</text>
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            <description>An entity responsible for making contributions to the resource</description>
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                <text>Christina Salowey</text>
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            <description>An account of the resource</description>
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                <text>This small terracotta representation of a architectural pediment is molded in one piece with an overhanging sima and slight stylized gutter embellishments at the corners. The lowest and longest part of the triangular space of the pediment is filled with a painted inscription. </text>
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                <text>ΕΥΦΡΟΝΙΣΝΥΝΦΑΙΣΑΝΕΘΗΚΕ (on object). Εὔφρονις νύ&lt;μ&gt;φαις ἀνέθηκε (transcribed). Euphronis dedicated (this) to the nymphs (translation). </text>
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            <name>Format</name>
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                <text>Terra-cotta </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="992">
                <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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                  <text>Proceeding: Ann Hopkins' Victorious Battle Against Workplace Discrimination</text>
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                  <text>Lori Joseph</text>
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                  <text>Courtney Chenette</text>
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                  <text>Rebecca Halsey</text>
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              <description>Information about rights held in and over the resource</description>
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                  <text>Hollins University Archives</text>
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          <name>Original Format</name>
          <description>The type of object, such as painting, sculpture, paper, photo, and additional data</description>
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            <name>Title</name>
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                <text>Obvious Case of Sex Discrimination</text>
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                <text>Opinion article written by a law professor in support of Ann Hopkins in relation to Price Waterhouse v. Hopkins, 490 U.S. 228.</text>
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                <text>Martha Chamallas</text>
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                <text>Des Moines Register</text>
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                <text>December 13, 1988</text>
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                <text>HAS(M)3</text>
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            <name>Coverage</name>
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United States</text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="1398">
                <text>Hollins University Archives</text>
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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>Office of the Dead, Last Rites, fol. 135 v</text>
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                <text>McV12_Death</text>
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                <text>medieval manuscripts</text>
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                <text>The Office of the Dead, usually found at the end of a book of hours, is a collection of psalms, prayers, and readings from the Old and New Testaments that were meant to coach the dying and the living family through death.  The Office of the Dead is not the funerary Mass, as the Office is not prayed during funerals. Instead the Office is used during the moments of death and the moments following to guide family members through the process of mourning.&#13;
The Office of the Dead contained the Hours of Vespers, Matins, and Lauds. The Hours of Vespers were meant to be prayed over the deceased’s coffin on the evening of the funeral Mass. Monks were hired by the family to recite or chant these prayers. Matins and Lauds were also prayed by hired monks on the morning of the funeral. Ideally the Office of the Dead was also prayed on a daily basis by the book’s owner. The daily recitations of these prayers provided the owner with comfort that her deceased relatives were being quickly prayed out of purgatory and into heaven. Most of the Office of the Dead consists of psalms intended to help one face death with a spirit of penitence and faith. Matins also contains nine lessons of readings from the Old Testament Book of Job that recount his suffering. &#13;
Often the Office of the Dead was illustrated with themes drawn from the Bible, such as the Last Judgment, the Raising of Lazarus, the Parable of Dives and Lazarus, or Job on the dung heap.   But the miniatures could also parallel the ars moriendi, The Art of Dying, a fifteenth-century manual that laid out the protocols and procedures for dying a good death.  Illustrations in this category are set in the world of book owner and offer a visual guide for an ideal death that ran from a deathbed supported by Last rites, through the funeral service and internment. Books of hours related to the McVitty Hours often fell into this category. Morgan MS M. 231, the work of the Chief Associate, offered a how-to that surrounded the main image of Last Rites with smaller vignettes that illustrated the sewing of the shroud, the funerary procession, and the burial. The Last Rites scene in the Hollins manuscript is likewise set in a well-appointed bed room where the dying person is attended by a priest and prayerful relatives.  In the McVitty Hours, a figure of Death, as a living corpse, pierces chest of the dying soul with a golden lance; this ghastly figure finds a parallel in the Office of the Dead in Morgan MS M.2.  What is remarkable about the McVitty Hours is how the figure who is dying is portrayed.  The figure is clearly awake, the most desirable state of affairs from a medieval perspective, and is also clearly a woman.  The figure’s gender is obvious both through its bare breasts, and through the long hair of the tiny soul being contended over by angel and demon.  The female identity of the dying subject is extremely rare.  The Princeton Index of Medieval Art offers only one parallel, in a mid-fifteenth-century French book of hours, the Coëtivy Hours, Chester Beatty Library, Dublin Castle, which is not stylistically related to the McVitty book of hours and in which the gender of the dying individual is less obvious than it in the McVitty Hours.  While scholars assume that many books of hours were intended for female possession and readership, it is exceptional to find such a clear statement of womens’ book ownership.</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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            <name>Date</name>
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                <text>1490</text>
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          <element elementId="47">
            <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 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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            <name>Format</name>
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                <text>codex</text>
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                <text>[Latin]</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>Lazarides, Paul. Hossios Loukas. Apollo Editions, 1987.</text>
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                <text>The mosaic depicts Jesus wearing a neutral tunic, wrapped in blue cloak, and holding a book in his left hand. The second part of the inscription is located on the book, which is open in about the middle of its pages. On either side of him, above his shoulders, are his initials, which allows the viewer to identify him as Jesus. With his right hand, he is holding his middle and ring finger his his thumb. His index and pinky fingers both remain straight up, and the back of the hand is facing the viewer.</text>
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                <text>Ι&lt;ΗΣΟΥ&gt;Σ  Χ&lt;ΡΙΣΤΟ&gt;Σ  Ἐγώ εἰμι τὸ φῶς τοῦ κόσμου. ὁ ἀκολουθῶν ἐμοὶ οὐ μὴ περιπατήσῃ ἐν τῇ σκοτιᾳ, ἀλλ᾽ἕξει τὸ φῶς τῆς ζωῆς. (transcription) Jesus Christ. I am the light of the world. The one who follows me shall not walk in darkness but will have the light of life. (translation)</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>
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              <elementText elementTextId="978">
                <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>Hollins University Archives</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>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;
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                <text>The Seven Penitential Psalms were a standard feature of the book of hours. These psalms were traditionally thought to have been written by King David in order to repent his numerous transgressions against God. They formed part of the Jewish liturgy and in the sixth century were grouped together by the learned Italian monk Cassiodorus as the psalms of penitence or confession. The owner of a book of hours would have used the Penitential Psalms to prayer for forgiveness, especially during Lent.  These psalms were believed to preemptively shorten time spent in purgatory. Sometimes the psalms were accompanied by scenes that seemed conducive to contrition, such as the Seven Deadly Sins, or scenes of David at prayer, as in Morgan MS M. 1093, fol. 79r.  But despite the repentant theme of the psalms, David’s victory over Goliath was a frequent choice to illustrate the Psalms, perhaps because the tale of David and Goliath would have been readily recognizable to a lay user of a book of hours. &#13;
Both the McVitty Hours and closely related Morgan MS M.2 (fol. 99r) focus on the conflict between the young David and the mighty giant, and both set the scene in an atmospheric landscape.  The miniatures focus on quite different moments in the narrative, however, for while the Morgan manuscript depicts David winding up to take a sling at Goliath, the Hollins book of hours depicts the bloody aftermath.  Center stage in the miniature is David, shouldering an enormous sword and clutching the head of the giant, which showers blood onto the ground. Goliath’s headless armor-clad corpse lies rigid on the barren ground, partly cut off by the frame of the miniature.  David’s face shows no more expression than we see elsewhere in the manuscript, but clearly the McVitty Master chose to the brutality of Goliath’s death.  The characteristic rock outcrop towers over David, emphasizing the small stature of the boy who had rescued his people.</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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            <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>1490</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="1128">
                <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>[Latin]</text>
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                <text>book of hours</text>
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France (country of origin)</text>
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            <name>Contributor</name>
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              <name>Title</name>
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                  <text>Greek in the Wild: Inscriptions Explained</text>
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            <element elementId="47">
              <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 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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              <name>Contributor</name>
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                  <text>Pria Jackson, Amanda McVey, Amelia Verkerk, Tina Salowey</text>
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      <name>Still Image</name>
      <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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            <name>Creator</name>
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                <text>Aristion of Paros </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>Attica, Central Greece and Euboea, Greece (discovery location of both the statue and inscription)</text>
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                <text>Athens, Periféreia Protevoúsis, Greece (current location of both the statue and inscription) </text>
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            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="865">
                <text>http://www.stiftung-archaeologie.de/koch-brinkmann,%20brinkmann,%20piening%20aus%20CIRCUMLITIO_Hirmer_Freigabe.pdf</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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              <elementText elementTextId="866">
                <text>Greece, Ancient</text>
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                <text>Archaic (Greek)</text>
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            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="868">
                <text>Ancient Greek</text>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>grave markers</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>phrasikleia_1</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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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Phrasikleia </text>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="873">
                <text>Amelia Verkerk, Christina Salowey (photo)</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="874">
                <text>This grave marker has both a Parian marble statue and a limestone base with an inscription on both the front and right side. The statue and base inscription were found separately; the former being found in excavation in modern day Merenda (ancient Myrrhinus) and the latter being found in a church in Merenda. The statue is of a young woman wearing a decorated peplos (πέπλος) and shoes, a floral headpiece, a necklace and bracelet. In her left hand, she holds a lotus bud while her right hand is hanging by the side of her body holding her peplos. She stands at 1.79 meters (5.87 feet) without the base (standing 2.115 meters – 6.93 feet – with the base). The statue was originally painted with the peplos being red. According to the inscription, the statue and grave were for Phrasikleia. The inscription was difficult to read because a majority of the letters on both inscriptions has been damaged. However, once removed from the church, the letters were able to be reconstructed. The inscription mentions that Phrasikleia was unmarried but unusually does not mention a father or brother’s name, leaving her name as the only identifier for the grave. The inscription on the right side of the base reveals Aristion of Paros as the sculptor of this grave marker.  </text>
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                <text>FRONT OF BASE: σεμα Φρασικλείας· / κόρε κεκλέσομαι / αἰεί ἀντὶ γάμο / παρὰ θεον τοῦτο / λαχοσ᾿ ὄνομα (transcribed Greek) Tomb of Phrasikleia: / I am called Kore / Forever instead of marriage / By god I obtained / This name (translation)  RIGHT SIDE OF BASE: Ἀριστίον Παρι[ός μ᾿ ἐπ]ο[ίε]σε (transcribed Greek) Aristion of Paros made me (translation) </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="876">
                <text>Parian marble (statue)</text>
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              <elementText elementTextId="877">
                <text>sculpture (statue)</text>
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                <text>limestone (inscription) </text>
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                <text>inscriptions (inscription) </text>
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            <name>Relation</name>
            <description>A related resource</description>
            <elementTextContainer>
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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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            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="980">
                <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>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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            <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>
                </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>
                </elementText>
              </elementTextContainer>
            </element>
            <element elementId="49">
              <name>Subject</name>
              <description>The topic of the resource</description>
              <elementTextContainer>
                <elementText elementTextId="521">
                  <text>Greece</text>
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            <element elementId="38">
              <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>
              <elementTextContainer>
                <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>
              <elementTextContainer>
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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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        <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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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Pindus Woman</text>
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            <name>Subject</name>
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                <text>Epirus, Greece</text>
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                <text>Twentieth Century</text>
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                <text>Greece (nation)</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>After the first switchback on the road into the Zagoria passing the village of Asprangeli, stands the monumental bronze of the Women of Pindus, commemorating the contributions of the women in the Zagoria villages to the war effort. The bronze figure, approximately 30 feet in height, depicts a women in traditional village clothing, carrying a feta cheese can, as a backpack, on her back and a small bag in her right hand. The statue crowns a tumulus with an empty chamber below. Stone built ramps lead to the top. The tumulus itself is on the top of the ridge and a gravel path winds to a parking lot just below the tumulus. A carved marble plaque is inscribed with a decree of the descendants of the Panoraveniotes (regional inhabitants) who were aided in the time of war. This monumental bronze stands at the other end of the ridge that runs to Kalpaki and the mound with the Soldier of 1940 on it. As such the two bronzes guard the pass into the mountainous region of the Zagoria.</text>
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                <text>ΨΗΦΙΣΜΑ\ ΕΜΕΙΣ ΟΙ ΑΠΟΓΟΝΟΙ ΚΕΙΝΩΝ ΤΩΝ\ΠΑΝΩΡΑΒΕΝΙΩΤΩΝ ΠΟΥ ΤΗ ΝΥΧΤΑ\ ΤΗΣ 28 ΟΚΤΩΒΡΙΟΥ ΤΟΥ 1940 ΚΑΤΑΦΥΓΑΝ\ ΣΤΟ ΖΑΓΟΡΙ ΓΙΑ ΝΑ ΓΛΥΤΩΣΟΥΝ\ ΑΠΟ ΤΑ ΧΕΡΙΑ ΤΟΥ ΕΙΣΒΟΛΕΑ\ ΕΚΦΡΑΖΟΥΜΕ ΤΙΣ ΑΠΕΙΡΕΣ ΕΥΧΑΡΙΣΤΙΕ ΜΑΣ ΠΡΟΣ ΤΟΥΣ ΖΑΓΟΡΙΣΙΟΥΣ\ ΣΥΜΠΑΤΡΙΩΤΕΣ ΜΑΣ ΓΙΑ ΤΗ ΦΙΛΟΞΕΝΙΑ\ ΚΑΙ ΤΗΝ ΠΕΡΙΘΑΛΨΗ ΠΟΥ ΠΑΡΕΙΧΑΝ\ ΠΡΟΣ ΤΟΥΣ ΠΡΟΓΟΝΟΥΣ ΜΑΣ\ ΚΑΛΠΑΚΙ 12-8-2011\ΟΙ ΠΑΝΩΡΑΒΕΝΙΩΤΕΣ ; Resolution. We, the descendants of those [panoraveniotes] who on the night of October 28, 1940 took refuge in the Zagori in order to escape from the hands of the invaders, we express our endless thanks to the people of the Zagoria, our compatriots, for their philoxenia and the medical care they furnished for our ancestors. Kalpaki, August 12, 2011, by the Panoraveniotes (dwellers in this region of Epirus).</text>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>G. Kalakallas (sculptor) ; unknown (sponsor)</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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          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="512">
                <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="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>bronze (metal); marble (rock)</text>
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                <text>casts (sculpture); stone-built</text>
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          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>war memorials; monumental sculpture</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_pindus_woman</text>
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          <element elementId="38">
            <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>||||osm&#13;
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              <name>Title</name>
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                  <text>Greek in the Wild: Inscriptions Explained</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="524">
                  <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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            <name>Creator</name>
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                <text>[unknown]</text>
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                <text>Sikión, Corinth, Peloponnese, Greece</text>
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                <text>Athens, Periféreia Protevoúsis, Greece</text>
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            <name>Source</name>
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              <elementText elementTextId="906">
                <text>http://www.namuseum.gr/collections/vases/archaic/archaic13-en.html</text>
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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Greece, Ancient</text>
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                <text>votive offering</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>Ancient Greek</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>votive offerings</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>pitsa_plaque</text>
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          <element elementId="40">
            <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>540-530 BCE</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Pitsa Plaque</text>
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            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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                <text>Amanda McVey, Tina Salowey (photo)</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>The plaque is wooden with a scene painted on the surface. The wood is covered with stucco and the image painted on top with several colors. The painting depicts a procession moving to the right toward an altar for a sacrifice. There are six fully visible people with one partially visible person at the end of the procession. Of the visible people, three are women and three are boys. The leading woman is pouring a libation from a jug while the other two women follow behind. The women are dressed in chiton and peplos, and their clothes are painted red and blue. Two of the boys are musicians, one playing the flute and the other playing the lyre. The third boy is leading a sheep to the altar to be sacrificed. The inscription makes it clear this is a votive offering. </text>
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                <text>[ἀν]έθεκε ταῖς νύμφαις εὐθυδικα εὐκολις κορίνθιος (transcription)  Euthydika, Eukolis, a Corinthian dedicated to the nymphs (translation)</text>
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            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>mineral pigment</text>
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                <text>painting (image-making)</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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            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="977">
                <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>Title</name>
              <description>A name given to the resource</description>
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                  <text>McVitty French Book of Hours</text>
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              <name>Contributor</name>
              <description>An entity responsible for making contributions to the resource</description>
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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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      <name>Still Image</name>
      <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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    <elementSetContainer>
      <elementSet elementSetId="1">
        <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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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Presentation in the Temple (folio 92r)</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>medieval manuscripts</text>
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                <text>books of hours</text>
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                <text>miniatures</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>[commentary]</text>
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              <elementText elementTextId="1098">
                <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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            <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>1490</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="1101">
                <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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            <name>Relation</name>
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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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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="1103">
                <text>codex</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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                <text>[Latin]</text>
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            <name>Type</name>
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            <name>Identifier</name>
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                <text>McV6_Presentation</text>
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          <element elementId="38">
            <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>||||osm&#13;
France (country of origin)</text>
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        <name>Book of Hours</name>
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        <name>HU Codex 1</name>
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        <name>McVitty</name>
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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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                  <text>Price Waterhouse v. Hopkins, 490 U.S. 228</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="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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                <elementText elementTextId="1411">
                  <text>Te’ya Mitchell</text>
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                <elementText elementTextId="1412">
                  <text>Sarah Snoddy</text>
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                <elementText elementTextId="1413">
                  <text>Samantha Lehman</text>
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                <elementText elementTextId="1414">
                  <text>Tayah Frye</text>
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                <elementText elementTextId="1415">
                  <text>Harika Bommana</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="1416">
                  <text>Hollins University Archives</text>
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    <itemType itemTypeId="1">
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      <description>A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text.</description>
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          <element elementId="50">
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            <description>A name given to the resource</description>
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                <text>Price to Pay for Female Partnership</text>
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          </element>
          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Price Waterhouse v. Hopkins, 490 U.S. 228</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2588">
                <text>Various publications printed opinion pieces and letters to the editor including the Des Moines Register, The Roanoke Times and World News, and The Sunday Times (UK).</text>
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          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Unknown</text>
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            </elementTextContainer>
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          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
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              <elementText elementTextId="2590">
                <text>The Sunday Times</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>May 20, 1990</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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              <elementText elementTextId="2592">
                <text>Hollins University Archives</text>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="2593">
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          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
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                <text>en-US</text>
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          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
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          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
            <elementTextContainer>
              <elementText elementTextId="2596">
                <text>HAS(M.OP)1</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="38">
            <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>
            <elementTextContainer>
              <elementText elementTextId="2597">
                <text>||||osm&#13;
United States</text>
              </elementText>
            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
</itemContainer>
