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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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              <name>Coverage</name>
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                  <text>Ancient Greece</text>
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                  <text>The Archaic, Classical, and Hellenistic works of art in this collection were all displayed with an accompanying inscription in ancient Greek. The interaction between the visual image and inscribed text can illuminate the function, meaning, and impact of the artistic object. The inscriptions are epitaphs, dedications, signatures, historical records, and literary records that contextualize the artistic production of ancient Greece in a variety of ways. &lt;a href="http://digitalexhibits.hollins.edu/exhibits/show/greekinthewild/introduction"&gt;View the interactive exhibit&lt;/a&gt;.</text>
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                  <text>Pria Jackson, Amanda McVey, Amelia Verkerk, Tina Salowey</text>
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      <name>Still Image</name>
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            <name>Creator</name>
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                <text>Philourgos</text>
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                <text>Akráfnion, Boeotia, Central Greece and Euboea, Greece</text>
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                <text>Thebes, Boeotia, Central Greece and Euboea, Greece</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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            <description>The topic of the resource</description>
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                <text>akraiphia_01</text>
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            <name>Date</name>
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                <text>520-510 BCE</text>
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            <name>Title</name>
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                <text>Akraiphia Grave Stelae</text>
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                <text>Pria Jackson, Tina Salowey (photo)</text>
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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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            <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 &lt;a href="http://presslib.hollins.edu/"&gt;Wyndham Robertson Library&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 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>[unknown]</text>
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                <text>Delphi, Phocis, Central Greece and Euboea, Greece (discovery)</text>
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                <text>Lucy T. Shoe, "Dark Stone in Greek Architecture", Hesperia Supplements vol. 8, (1949) 341-482.</text>
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            <name>Subject</name>
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                <text>Greece, Ancient</text>
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                <text>Altar</text>
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                <text>Ionic</text>
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            <name>Language</name>
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                <text>Ancient Greek</text>
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            <description>The nature or genre of the resource</description>
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                <text>altars (religious building fixtures); dedications (ceremonies)</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>altar_chians_01</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>500-450 BCE</text>
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            <description>A name given to the resource</description>
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                <text>Altar of the Chians</text>
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            <description>An account of the resource</description>
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                <text>Called either the Temple of Apollo Pythios or the Altar of the Chians, this altar was erected by the people of the island of Chios during the 5th century. This was likely done in honor of their role in the Persian War and Ionian Revolt. It would have been used at Delphi to make large sacrificial offerings to the gods. The southern wall of the altar is made from rectangular cut black Eleusinsian stone that has been topped with a cornice of flat marble on which is another inscription that can be viewed here. A single white cornerstone has been placed in the lower right foundation on which has been inscribed the words "ΔΕΛΦΟΙ ΕΔΩΚΑΝ ΧΙΟΙΣ ΠΡΟΜΑΝΤΕΙΗΝ." &#13;
&#13;
Using the scale in the photo we can see that the dimensions of the cornerstone is approximately 3.5 x 2 cats long. The use of black limestone rather than the typical white marble stone of the same period magnifies the grandeur of the altar, striking the viewer in its contrast. The altar was restored in the 1920's by the people of Chios.</text>
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                <text>ON STONE: ΔΕΛΦΟΙ ΕΔΩΚΑΝ / ΧΙΟΙΣ ΠΡΟΜΑΝΤ / ΕΙΗΝ &#13;
&#13;
TRANSCRIBED: Δέλφοι ἔδωκαν Χιοις προμαντεῖην &#13;
&#13;
TRANSLATION: "The Delphians gave to the Chians the right of first consul to the oracle."</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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            <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 &lt;a href="http://presslib.hollins.edu/"&gt;Wyndham Robertson Library&lt;/a&gt;.</text>
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                  <text>These images and text document the many and varied World War II monuments scattered across the rugged landscape of Epirus, in northwestern Greece. They also provide evidence for the strong culture of ongoing World War II commemoration in the region. What the monuments commemorate ranges from the Hellenic Army's victory over Mussolini's forces in 1940 through the role of Greek women in the war, to the victims of Nazi atrocities, and even a Communist dominated resistance organization. The collection is part of a larger project that includes scholarship on some of the memorials, and interactive mapping of all of them which will enable users to geographically locate each one, learn its historical context, and contribute to discussion about it. &lt;a href="https://digitalexhibits.hollins.edu/neatline/show/warmonumentsgreece"&gt;View the interactive map&lt;/a&gt;</text>
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                  <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: http://presslib.hollins.edu/. </text>
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                <text> 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>Andartes Monument Bourazani Road</text>
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                <text>A truncated triangular concrete monument topped by a bronze statue of two falling bombs, and faced with a bronze relief and marble inscription. The bronze relief depicts a bearded man, armed with a pistol, rifle and bandolier of bullets. The man wears a beret and strides broadly to the left in left profile. The marble inscription specifies the battle, lists the deceased, some of whom are also mentioned on the Ano Ravenia fallen monument, and credits the sponsors of the monument. The monument is set on a pavement with the names of three regions set into it with bronze lettering: Konitas, Pogoni, Zagori. The whole monument is fenced with cast iron fencing and 4 cedars grow in or near the enclosure. The monument is easily visible from the road.</text>
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                <text>ΕΔΩ ΕΠΕΣΑΝ ΣΕ ΜΑΧΗ ΜΕ ΤΟΥΣ ΙΤΑΛΟΥΣ ΦΑΣΙΣΤΕΣ ΣΤΙΣ 15-4-43 ΟΙ ΑΝΤΑΡΤΕΣ ΤΟΥ ΕΛΑΣ      ΚΩΝ. Δ. ΒΛΑΧΟΣ, ΑΠΟ Κ. ΜΕΡΟΠΗ, ΕΤΩΝ 27\ΚΩΝ. Γ. ΚΑΣΟΥΛΑΣ, ΑΠΟ ΔΟΛΙΑΝΑ, ΕΤΩΝ 22\ΖΑΧ. Μ. ΠΑΝΑΓΙΟΣ, ΑΠΟ ΠΥΡΣΟΓΙΑΝΝΗ, ΕΤΩΝ 29\ΓΕΩΡ. Χ. ΠΑΠΑΖΩΗΣ, ΑΠΟ Α. ; The andartes of ELAS fell here in a battle with the Italian fascists on April 15, 1943: Konstantinos D. Blachos, from Kata Meropi, 27 years old\ Konstantinos G. Kasoulas, from Doliana, 22 years old\ Zacharias M. Panagios, from Pyrsogianni, 29 years old\ Georgios Ch. Papazoes, from Ano Ravenia, 29 years old\ Thrasyboulos A. Papazoes, from Ano Ravenia, 22 years old\ Sokrates Th. Samaras, from Ano Ravenia, 34 years old\ Christos T. Stephanatos, from Basiliko, 20 years old\ Kleomenes Ph. Tzimopoulos, from Kipous, 26 years old.; ΤΟ ΜΝΗΜΕΙΟ ΕΓΙΝΕ ΜΕ ΤΗ ΦΡΟΝΤΙΔΑ ΤΟΥ ΠΑΡ. Π Ε Α Ε Α ΚΟΝΙΤΣΑΣ ΚΑΙ ΤΗΝ ΟΙΚΟΝ. ΣΥΝΔΡΟΜΗ ΑΔΕΛΦ-ΤΩΝ, ΣΥΛΛΟΓΩΝ ΚΑΙ ΚΑΤΟΙΚΩΝ ΤΗΣ ΠΕΡΙΟΧΗΣ. ΑΥΓΟΥΣΤΟΣ 1988. ; This monument came to be with the care of Π Ε Α Ε Α of Konitsa and the funding of brotherhoods, associations, and inhabitants of the region. August 1988.</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>Sarah Snoddy</text>
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                  <text>Tayah Frye</text>
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                  <text>Harika Bommana</text>
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                  <text>Hollins University Archives</text>
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                <text>Photograph of Ann Hopkins and her children published alongside The Washington Post article "Social grace raises question of subtle sex bias."</text>
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                <text>Lucian Perkins</text>
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                <text>October 1988</text>
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                <text>HAS(M)6</text>
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United States</text>
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                  <text>These images and text document the many and varied World War II monuments scattered across the rugged landscape of Epirus, in northwestern Greece. They also provide evidence for the strong culture of ongoing World War II commemoration in the region. What the monuments commemorate ranges from the Hellenic Army's victory over Mussolini's forces in 1940 through the role of Greek women in the war, to the victims of Nazi atrocities, and even a Communist dominated resistance organization. The collection is part of a larger project that includes scholarship on some of the memorials, and interactive mapping of all of them which will enable users to geographically locate each one, learn its historical context, and contribute to discussion about it. &lt;a href="https://digitalexhibits.hollins.edu/neatline/show/warmonumentsgreece"&gt;View the interactive map&lt;/a&gt;</text>
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                  <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: http://presslib.hollins.edu/. </text>
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                <text>Áno Ravénia, Ioánnina, Epirus, Greece</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 marble-faced stele, set on a two step base carries the names of 29 individuals lost because of wars between 1940 - 1949. No ages or birthplaces are given, but presumably all are from the village of Ano Ravenia where the monument is located. The monument is set in a grove with a cedar tree, approached by stairs from the main road and surrounded with a wrought iron fence.</text>
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                <text>ΕΙΣ ΜΝΗΜΗΝ ΕΚΕΙΝΩΝ ΠΟΥ ΧΑΘΗΚΑΝ ΕΞΑΙΤΙΑΣ ΤΩΝ ΠΟΛΕΜΩΝ ; In memory of those who were lost because of the wars 1940 - 1949; ΑΛΕΞΙΟΥ ΣΠΥΡΙΔΩΝ\  ΒΟΛΟΓΙΑΝΝΗΣ ΒΑΣΙΛΕΙΟΣ\ΓΚΑΝΤΩΛΙΑΣ ΔΗΜΗΤΡΙΟΣ\ΓΚΕΡΛΕΣ ΜΙΧΑΗΛ\ΓΚΙΟΛΕΚΑΣ ΑΛΚΙΒΙΑΔΗΣ\ΔΑΣΟΥΚΙΔΟΥ ΕΛΕΝΗ\ΔΗΜΟΥΛΑΣ ΧΡΗΣΤΟΣ\ΔΟΝΟΣ ΧΑΡΑΛΑΜΠΟΣ\ΚΟΥΦΑΛΑΣ ΑΛΕΞΑΝΔΡΟΣ\ΚΟΥΦΑΛΑΣ ΑΧΙΛΛΕΑΣ\ΜΠΑΛΑΜΠΟΥΤΗΣ ΑΝΤΩΝΙΟΣ\ΝΤΑΪΚΟΣ ΣΩΚΡΑΤΗΣ\ΝΤΕΜΙΡΗΣ ΑΝΑΣΤΑΣΙΟΣ\ΠΑΠΑΖΩΗ ΑΛΕΞΑΝΔΡΑ\ΠΑΠΑΖΩΗ ΑΙΚΑΤΕΡΙΝΗ\ΠΑΠΑΖΩΗ ΜΑΡΙΑ\ΠΑΠΑΖΩΗΣ ΓΕΟΡΓΙΟΣ\ΠΑΠΑΖΩΗΣ ΘΡΑΣΥΒΟΥΛΟΣ\ΠΟΡΙΚΗΣ ΖΗΚΟΣ\ΡΙΖΟΣ ΔΗΜΗΤΡΙΟΣ\ΡΟΥΝΤΑΣ ΓΕΟΡΓΙΟΣ\ΣΑΜΑΡΑΣ ΣΩΚΡΑΤΗΣ|ΤΣΑΤΣΗΣ ΑΝΤΩΝΙΟΣ\ΤΣΙΚΑ ΦΩΤΕΙΝΗ\ΤΣΟΛΑΚΗΣ ΈΟΦΑΝΗΣ\ΦΩΤΙΑΔΗΣ ΦΩΤΙΟΣ\ΚΑΠΠΗΣ ΠΑΝΑΓΙΩΤΗΣ\ΚΑΠΠΗΣ ΜΙΛΤΙΑΔΗΣ\ΚΑΠΠΗΣ ΔΗΜΗΤΡΗΣ ; Spyridon Alexiou\Vasileios Vologiannis\Dimitrios Gantolias\Michail Gerles\Alkibiades Giolekas\Eleni Dasoukidou\Christos Dimoulas\Charalambos Donos\Alexandros Koufalas\Achilleas Koufalas\Antonios Balaboutis\Sokrate Daikos\Anastasios Demiris\Alexandra</text>
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              <name>Title</name>
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                  <text>Greek in the Wild: Inscriptions Explained</text>
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              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
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                  <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact the library.</text>
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                  <text>Ancient Greece</text>
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              <name>Description</name>
              <description>An account of the resource</description>
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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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    <itemType itemTypeId="6">
      <name>Still Image</name>
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            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>[unknown]</text>
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            <name>Coverage</name>
            <description>The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant</description>
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              <elementText elementTextId="546">
                <text>Demetrias, Magnisía, Thessaly, Greece (discovery)</text>
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                <text>Vólos, Magnisía, Thessaly, Greece (current)</text>
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
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              <elementText elementTextId="548">
                <text>A.S. Arvanitopoulos, Θεσσαλικὰ Μνημεῖα. Ἀθανασάκειον Μουσείον ἐν Βολῷ Ι. (Athens 1909) 155-164.; A.S. Arvanitopoulos, Graptai Stelai Demetriados-Pagason (Athens 1928).</text>
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          <element elementId="49">
            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Greece, Ancient</text>
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                <text>funerary art</text>
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                <text>Ionic</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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              <elementText elementTextId="551">
                <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>utilitarian objects</text>
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                <text>tombstones (sepulchral monuments)</text>
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                <text>stelae</text>
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            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>archidike_01</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>250-225 BCE</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Archidike</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="556">
                <text>Tina Salowey (translator)</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="557">
                <text>The grave marker is in the form of a pedimented stele with rosettes. The pediment survives with carved and painted details including acroteria carved in the form of palmettes and a painted pomegranate centered in the triangular space. Under the geison is inscribed a poetic epitaph in six line or three elegaic couplets. The deceased is identified as Aristodike, the daugher of Aristomachos whose family is well know and important in Pagasai. Other stelae indicate Aristodike has a brother Hygiamenes and a niece named Anthis. It is possible she is from a Cretan mercenary family. Under the inscription are two rosettes, marked out in paint. In the painted scene a woman is seated on a chair facing to the right and behind her a smaller figure, perhaps a child, stands with a worried pose. Archidike wears a chiton and himation and appears to be daydreaming; attendant looks grief stricken. There are some problems with body proportions and musculature, but the shading is masterful. The woman wears her himation over her head, as if married, but no husband is mentioned in the epitaph. Inscription is immediately under the geison.</text>
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                <text>εἰ κέκρικας χρηστὴν, Ῥαδάμανθυ, γυναῖκα καὶ ἄλλην/ ἢ Μίνως, καὶ τήνδε οὖσαν Ἀριστομάχου/ κούρην. εἰς Μακάρων Νήσους ἄγετ᾿! Εὐσεβίαν γὰρ/ ἤσκει καὶ σύνεδρον τῆσδε δικαιοσύνην. / Ἣν Τυλισὸς μὲν ἔθρεψε, πόλις Κρῆσσα ἥδε δὲ γαῖα/ ἀμφέπει ἀθάνατον - μοῖρα σοί, Ἀρχιδίκη!; If you have judged another woman as worthy, O Rhadamanthys, O Minos, then judge this woman, the daughter of Aristomachos, the same way, and lead her towards the Islands of the Blest! For she has made religious piety her practice and righteousness her own co-counselor. Tylissos, a Cretan city, nurtured her, but this land will surround her for eternity. Fate be with you, Archidike!</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>marble (rock)</text>
              </elementText>
              <elementText elementTextId="560">
                <text>painting (image-making)</text>
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                <text>inscriptions</text>
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            <name>Relation</name>
            <description>A related resource</description>
            <elementTextContainer>
              <elementText elementTextId="583">
                <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="584">
                <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>grave monument</name>
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        <name>greek in the wild</name>
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        <name>Hellenistic</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>
                <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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            <element elementId="38">
              <name>Coverage</name>
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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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              <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>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="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Nikosthenes</text>
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          <element elementId="38">
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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>Athens, Periféreia Protevoúsis, Greece</text>
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              <elementText elementTextId="726">
                <text>East Los Angeles, Los Angeles, California, United States</text>
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          <element elementId="48">
            <name>Source</name>
            <description>A related resource from which the described resource is derived</description>
            <elementTextContainer>
              <elementText elementTextId="727">
                <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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            <name>Subject</name>
            <description>The topic of the resource</description>
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                <text>Greece, Ancient</text>
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              <elementText elementTextId="729">
                <text>black-figure (pottery)</text>
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              <elementText elementTextId="1004">
                <text>Attic (Mainland Greek pottery styles)</text>
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          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
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                <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>cups</text>
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          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>eye_cup_01</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="733">
                <text>530-510 BCE</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Attic Black Figure Eye Cup</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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            <name>Description</name>
            <description>An account of the resource</description>
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                <text>At 0.12 m in height (4.48 inches), this wide-brimmed cup with two low placed handles is fired using the black figure technique. There are two figures on the front. The figures, although not labeled, can be identified as Herakles and Athena thanks to their attributes. Herakles, as he is in many ancient art scenes, is wearing a lion's skin cloak and carrying a club in reference to his triumphant defeat of the Nemean Lion during the Twelve Labors. Athena is wearing her typical warrior's helmet in reference to her being both the Goddess of wisdom and born from the head of Zeus. The two figures are centered between two large eyes above the left of which is the painted "ΝΙΚΟΣΘΕΝΕΣ ΕΠΟΙΕΣΕΝ." &#13;
&#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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                <text>On Cup: ΝΙΚΟΣΘΕΝΕΣ ΕΠΟΙΕΣΕΝ &#13;
&#13;
Transcribed: Νικόσθενες ἐποίεσεν  &#13;
&#13;
Translation: "Nikosthenes made it."</text>
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                <text>Pria Jackson, Tina Salowey (photo)</text>
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                <text>This fragment of Attic pottery dates back to the 6th-century workshop of Sophilos, who is one of the oldest Attic potters we can still call by name thanks to the artist signatures he wrote on his works. This reconstructed rim depicts a scene from the ending books of The Iliad. &#13;
&#13;
According to myth, Achilles has, at this point, killed Hector and dragged his corpse around the city of Troy three times in vengeful retribution of the death of Patroklus, Achilles' beloved. Achilles has allowed neither Hector's nor Patroklus' body to go through proper funeral rites, wallowing in his ungodly rage and grief. Finally, Achilles is convinced to bury the body of Patroklus. After the burial, Achilles sets about hosting a spectacular set of funeral games in honor of his beloved Patroklus. Shortly afterward, Achilles also releases the body of Hektor back to Troy. The burying of the body of Patroklus, the funeral games, and the release of Hektor mark an end to Achilles mighty rage as well as an end to The Iliad.&#13;
&#13;
This fragment of an ancient dinos (a mixing bowl for wine) depicts these very same funeral games to Patroklus. Along the upper rim a black figure rooster, lion, goat, and two other partial animals walk in either direction. Directly below this, a looping collar has been designed that alternates between red and black. &#13;
&#13;
The main scene shows a four-horse chariot racing across towards a seated crowd of spectators. Behind the heads of the horses, we can still see an "ΟΣ" written. This was once the masculine singular nominative noun ending of the name of the racing chariot's driver.&#13;
&#13;
The audience, done in the black figure and painted with red detail, sit on bleachers watching the horses. In the airspace before the audience, two lines are written almost as if to imply that the words were hanging in the air from their last cheer. "ΣΟΦ[Ι]ΛΟΣ:ΜΕΓΡΑ[ΠΣ]ΕΝ // ΠΑΤΡΟϘΛΥΣ:ΑΤΛΑ" slopes downwards across the bowl, written in a rather sloppy script. Some letters have been lost in the fragmentation of the bowl. Both lines are written in retrograde.&#13;
&#13;
We can see the beginning of another crowd sitting on the backside of the bleachers facing the other direction. While we no longer have the part of the bowl showing what they were watching, we know it must've been something featuring Achilles because the name, "ΑΧΙΛΕΣ" also rises from the crowd.&#13;
&#13;
Below all of these events, we can see the floor of the Earth held up on the decorative heads and tails of lions.&#13;
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                <text>On fragment: (left to right) ΟΣ // ΣΟΦ[Ι]ΛΟΣ: ΜΕΓΡΑ[ΠΣ]ΕΝ // ΠΑΤΡΟϘΛΥΣ: ΑΤΛΑ // ΑΧΙΛΕΣ &#13;
&#13;
Transcription: ...ος. Σόφ[ι]λος μ' ἔγρα&lt;ψ&gt;εν. Πατρόϙλυς: αθλά. Αχίλες &#13;
&#13;
Translation: "Sophilos painted me. The funeral games of Patrokles. Achilles."</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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                <text>"15499" National Archaeological Museum, Athens http://www.namuseum.gr/collections/vases/archaic/archaic12-en.html</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>Corinth, Peloponnese, Greece</text>
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                <text>Los Angeles, California, United States</text>
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                <text>The J. Paul Getty Museum Handbook of the Collections. 4th ed. (Los Angeles: J. Paul Getty Museum, 1997), p. 44.</text>
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                <text>Greece, Ancient</text>
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                <text>Black-figure (pottery)</text>
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            <description>A language of the resource</description>
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                <text>decorative arts</text>
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                <text>Corinthian Aryballos</text>
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                <text>600 - 575 B.C.</text>
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                <text>Corinthian Aryballos</text>
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                <text>Amelia Verkerk, Tina Salowey (photo)</text>
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                <text>There are two inscriptions on this Corinthian black-figure aryballos. On this aryballos, Herakles battles the Hydra while Athena stands with her hands raised up as if supporting the hero. Herakles grasps one head of the Hydra as he stabs at the monster with his sword. Painted inscriptions identify each of these figures. The handle of the aryballos is decorated with a geometric pattern. The top of the aryballos is decorated as a flower with pedals surrounding the opening of the vase. Under the aryballos’ handle, there are horses pulling a chariot. An aryballos was a container to store perfume or oil. Corinthian pottery at this time was typically designed with rows of animals without any inscriptions, making this particular aryballos unique.</text>
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                <text>AθΑΝΑ (transliterated Greek) Ἀθήνα  (transcribed Greek)  Athena (translated)  ΗΕΡΑΚΛΕΣ(transliterated Greek) Ἡρακλῆς (transcribed Greek) Herakles (translated) </text>
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                <text>terracotta (clay material)</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="981">
                <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>Hollins University Archives</text>
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                <text>Open Access</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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            <element elementId="47">
              <name>Rights</name>
              <description>Information about rights held in and over the resource</description>
              <elementTextContainer>
                <elementText elementTextId="520">
                  <text>Images provided for non-commercial research and reference use only. No permission is required from the rights-holder(s) for educational uses. For other uses, you need to obtain permission from the rights-holder(s). Should you have use questions or any legal concerns about this image or collection, please contact: http://presslib.hollins.edu/. </text>
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                  <text>Greece</text>
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                  <text>Epirus, Greece</text>
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                  <text>Christopher J. Richter, Christina Salowey</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2755">
                <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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          </element>
          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2756">
                <text>Unknown</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="2757">
                <text>Unknown</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="2758">
                <text>May 21, 1990</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="47">
            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2759">
                <text>Hollins University Archives</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2760">
                <text>PNG</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="44">
            <name>Language</name>
            <description>A language of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2761">
                <text>en-US</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="51">
            <name>Type</name>
            <description>The nature or genre of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2762">
                <text>text</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="43">
            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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              <elementText elementTextId="2763">
                <text>HAS(M.A)5</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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              <elementText elementTextId="2764">
                <text>||||osm&#13;
United States</text>
              </elementText>
            </elementTextContainer>
          </element>
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</itemContainer>
