Download Gallery P1: Egypt - VolunteerNET at the Nelson

Ancient Galleries Label Copy Curator: Dr. Robert Cohon, Curator, Art of the Ancient World May 8, 2010

Gallery P1: Egypt Torso of Archibios Mendes, Egypt Ptolemaic Period 2nd century b.c.e. Gray granite One of the most powerful officials of his time, Archibios was the equivalent of Egypt’s prime minister. He dedicated this statue of himself to stand in eternal prayer in a sanctuary before the Great God of Mendes. Purchase: William Rockhill Nelson Trust, 47-1

Ushebtis of Meret-it-es

Egypt Late Period to Ptolemaic Period, 30th Dynasty to early Ptolemaic Dynasty ca. 380–250 b.c.e. Faience

The ancient Egyptian government sometimes required of its people hard communal agricultural work. Concernedthat such governments might exist in the hereafter, Egyptians created ushebtis to perform these tasks. As is clear on the large ushebtis, the figure’s crossed left hand holds a pick to open hard ground; the right hand grips a hoe to mix clay for brickmaking. Meret-it-es’ name is on each ushebti; a long spell summoning them to work appears on the larger ones. (Ushebti appropriately means ―responder.‖) Meret-it-es was buried with 305 ushebtis. The 14 large ones supervised the 291 others. The small ushebtis are ordered here in three groups corresponding to the different arrangements of hieroglyphs on them. By careful observation, archaeologists have determined that one group of artists made the small ushebtis on the left; another group of artists made those on the right; two other groups made those in the middle. Purchase: William Rockhill Nelson Trust (by exchange)2007.12..7-113;115–312 Feeding the Ka The vital force of the deceased—the ka—required food to survive in the afterlife. Relatives and priests were expected to bring food-offerings to the tomb, but Egyptians also employed other methods of providing nourishment as seen by the bread-making servant and relief here.

The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

Servant Kneading Dough Egypt Old Kingdom, 5th Dynasty ca. 2494–2345 b.c.e. Painted limestone This stone figure was meant to magically come alive and make bread for the spirit of the deceased in the afterlife. He leans into his work, his arms stiff as he vigorously rolls the dough before him. Like Kansas today, the rich Nile Valley was perfect for growing grain. Thus bread—along with beer—was a steady part of the Egyptians’ diet. The bread, however, was not always good for them. Oftentimes wind-borne desert sand became mixed with the dough, causing cavities and toothaches. Purchase: William Rockhill Nelson Trust, 35-17 Stele of Se-ankhy and Ankhu Abydos Middle Kingdom, 12th Dynasty ca.1970–1950 b.c.e. Limestone In this early work, a deceased husband and wife stand before a table stacked high with food, a necessity for continued existence in the hereafter. Prayers for food appear above the scene. The relief stood in Abydos, a sacred site. The hope was that pilgrims passing by the relief (and many others like it) would recite the prayers for food and thereby magically ensure that the spirits of the deceased would have everything—and more—pictured on the table. The goose lying on its back and the bovine leg were, no doubt, a special treat. Purchase: William Rockhill Nelson Trust, 35-17 Vase Egypt Roman Period, 1st century c.e. Faience This vase was probably from a tomb and may have even held a beverage for the deceased’s spirit. The vessel’s imagery and color express the deceased’s hope for resurrection. The rich green plants were reborn each spring. The snakes—colored green like plants—regularly shed their old scales, and new skins miraculously appeared as though they were reborn. Purchase: William Rockhill Nelson Trust, 32-111 Model Boat Possibly from Meir, Egypt Middle Kingdom, late 12th Dynasty ca. 1855–1795 b.c.e. Carved and painted wood

The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

In Egypt, the boat was as common as a Yellow Taxi in New York. The Nile was a superhighway. Since the current flowed south to north, one could easily row northward; because winds blew from north to south, sailing south was even easier. Found in an early tomb, our boat and rowers served to magically transport the resurrected deceased on a Nile flowing through the hereafter. The boat heads north: mast down, the rowers are at work. Although the boat’s function is practical, its hull is elegant and graceful, a fine work of art. For more sculptures that were meant to come to life and serve the spirit of the deceased, see the statuettes on the wall to your right. Purchase: William Rockhill Nelson Trust, 41-4 Anubis Egypt Late Period to Ptolemaic Period, 26th Dynasty to Ptolemaic Dynasty 664–32 b.c.e. Bronze with silver inlay Protector of cemeteries and guide to the afterlife, the god Anubis stands here with a human body and jackal head. Anubis was soclosely connected with embalming that priests mummifying corpses wore a jackal’s mask. An Egyptian offered this statue as a gift to Anubis, hoping for a favor in return—so much so that he paid for expensive silver decoration on Anubis’ dress and eye. Other images of Anubis as a seated jackal appear on Meret-it-es’ large outer coffin behind you. Purchase: William Rockhill Nelson Trust, 57-105 Beastly Gods, Unholy Animals The ancient Egyptians chose certain appropriate animals to represent particular characteristics of the gods. For example, cows came to represent the goddess Hathor because she was as maternal as cows were thought to be. Egyptians did not, however, think that their gods actually resembled animals. While the Egyptians also believed that certain animals were special to particular deities and that occasionally a god might temporarily enter the animal’s body, the Egyptians did not worship any species of animal. Ibis Head and Striding Ibis Egypt Late Period to Ptolemaic Period, 26th Dynasty to Ptolemaic Dynasty 664–32 b.c.e. Bronze and wood The ibis (EYE-bis) was a bird that was special to Thoth, god of wisdom and the moon and patron deity of scribes. The curved beak suggested the crescent moon; its length and sharp tip, a scribe’s reed pen. Hoping for a favor in return, Egyptians regularly sacrificed ibis mummies to Thoth. Our striding ibis with its delicately rendered talons and elegant beak may have held a mummified ibis in

The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

its body. Images of Thoth with an ibis head and human body appear on Meret-it-es’ upright inner coffin behind you. Purchase: William Rockhill Nelson Trust, 43-30 Inner Coffin Labels Inner Coffin of Meret-it-es (front view) Egypt Late Period to Ptolemaic Period, 30th Dynasty to early Ptolemaic Dynasty ca. 380–250 b.c.e. Wood, pigment, gesso and gilding Except for her missing mummy, almost everything buried with the noblewoman Meret-it-es is here: this inner coffin, the outer coffin that contained it (to your left), the gold that lay over the mummy (ahead to the right) and 305 statuettes (behind you).Although little is known about Meret-it-es, her funerary equipment reveals much about Egyptian religion. Remarkably thick and weighing 400 pounds, this coffin was meant to preserve Meret-it-es’s mummy so that her spirit could live eternally in the hereafter. In part, to ensure that she would become a divine spirit, she is portrayed as a god with golden flesh and blue hair; her unarticulated body resembles the mummified ruler of the underworld, Osiris. In the center of the coffin the sky goddess Nut spreads her wings, protecting Meret-it-es. A bit below this, Meret-it-es appears before the ibis-headed god Thoth, having been accepted into the hereafter. High above, on the red plaque, she approaches Osiris: her journey into the next world is complete. For more information, see the coffin’s back and the Solar Guide and Underworld Guide on the wall to your right. Purchase: William Rockhill Nelson Trust (by exchange), 2007.12.2.A,B Inner Coffin of Meret-it-es (back view) Egypt Late Period to Ptolemaic Period, 30th Dynasty to early Ptolemaic Dynasty ca. 380–250 b.c.e. Wood, pigment, gesso and gilding The back of this coffin, like the front, magically ensured Meret-it-es’ resurrection in the afterlife. The sun is consistently alluded to because Meret-it-es was supposed to be resurrected like the sun, which is reborn each morning. Ihet, the sacred cow, appears behind Meret-it-es’ head; in the Book of the Dead, Ihet is named the mother of Ra, the sun god; here, she magically warms and protects Meret-it-es’ head. The baboons below greet the sun at dawn. The coffin’s bright yellow color suggests the sun’s rays striking it to bring Meret-it-es’ spirit to life. The large columnar form below the baboons, the djed-pillar, represented the backbone of Osiris, lord of the underworld. Its crossed arms also allude to the mummiform pose of Osiris. For more information, see the Solar Guide and Underworld Guide on the wall to your left. Purchase: William Rockhill Nelson Trust (by exchange), 2007.12.2.A,B

The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

Gallery P2: Egypt Outer Coffin Labels Outer Coffin of Meret-it-es Egypt Late Period to Ptolemaic Period, 30th Dynasty to early Ptolemaic Dynasty ca. 380–250 b.c.e. Wood, pigment and gesso This outer coffin of the noblewoman Meret-it-es originally held the large inner coffin standing to your left. Two coffins doubled the protection for the mummy. As long as the mummy was preserved, the spirit of the deceased could exist in the hereafter. The paintings on the coffins also ensured the spirit’s continued existence. Purchase: William Rockhill Nelson Trust (by exchange), 2007.12.1.A–C Details: Top of coffin A human-headed bird flies to Meret-it-es’ mummy. This is her ba, something akin to the modern idea of personality or soul. Her ba must enter her mummy each evening for Meret-it-es’ spirit to be able to walk among the living during the day. The long spell written in hieroglyphs ensures this.

Chest (below), standing figures These 42 judges have threatening names such as: Flaming One Who Came Forth Backwards, Bone Breaker and Blood Eater. Each holds a large knife. Meret-it-es has proclaimed her innocence to them, reciting 42 wicked things she did not do—as, for example: ―Ihave not told lies,‖ ―I have not stolen,‖ ―My voice was not loud‖ and ―I have not made lawsuits.‖ The judges have believed her and her spirit can now enter the afterlife.

Short side of coffin, left side of case Meret-it-es appears four times before two solar disks. She hopes to be resurrected and thereby be like the sun, which is reborn every morning. For more information, see the guides on the wall on the opposite side of the display case.

The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

Lid, standing figures and jackals below Divine powers protect Meret-it-es: the 12 Hours of the Day (each crowned with a solar disk) on this side; the Hours of the Night (each with a star) on the other side; and Anubis, guardian of cemeteries, in his form as a jackal over a tomb or shrine.

Statuettes of Nephthys (left) and Isis (right) Egypt Late Period to Ptolemaic Period, 30th Dynasty to early Ptolemaic Dynastyca. 380–250 b.c.e. Wood, pigment, gesso and gold leaf Because the spirit of the deceased was likened to Osiris, the resurrected god of the underworld, his sisters, Nephthys (left) and Isis (right), appear here. Mourning and protecting Meret-it-es, they originally stood at the narrow ends of the coffin. Purchase: William Rockhill Nelson Trust (by exchange), 2007.12.5, 6 Mummy Mask of Meret-it-es Egypt Late Period to Ptolemaic Period, 30th Dynasty to early Ptolemaic Dynasty ca. 380–250 b.c.e. Cartonnage (linen or papyrus covered in plaster), paint and gold leaf

Pectoral of Meret-it-es Egypt Late Period to Ptolemaic Period, 30th Dynasty to early Ptolemaic Dynasty ca. 380–250 b.c.e. Cartonnage (linen or papyrus covered in plaster), paint and gold leaf

Apron of Meret-it-es Egypt Late Period to Ptolemaic Period, 30th Dynasty to early Ptolemaic Dynasty ca. 380–250 b.c.e. Cartonnage (linen or papyrus covered in plaster), paint and gold leaf The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

These golden elements lay once directly over the mummy of Meret-it-es. To help ensure that her spirit will be resurrected and exist for eternity, Meret-it-es is portrayed as a god: her hair is blue; her flesh, golden. Further, the spirit of Meret-it-es is likened to Osiris, the ruler of the underworld. Osiris’ mother, the sky goddess Nut, stretches her wings to protect Meret-it-es’ chest. Of the protecting deities on the rectangular apron below, the upper four are grandsons of Osiris, and the lower two, his sisters (Isis on your left; Nephthys on your right). Purchase: William Rockhill Nelson Trust (by exchange), 2007.12.3–4 A.B. Myths and Mummies The approximately 2,000-year-old mummy is of an unidentified man who probably died young. Egyptian priests made the mummy by removing his internal organs and placing natron, a salt, inside and outside his body. The natron absorbed the body’s moisture, eliminating any future bacterial growth and turning the skin leather hard. The mummy was then wrapped in many yards of linen. The entire process required about 70 days but preserved the body for millennia. Egyptians mummified corpses because the deceased’s spirit could survive in the hereafter only if its body was intact. A myth also explains why mummies were wrapped. The story’s central characters appear above our mummy. Osiris (in the center) was lord of the earth, but his jealous brother, Seth, killed him and chopped him into pieces. Osiris’ sisters, Isis (on the left) and Nephthys, gathered the scattered parts of his body and joined them together by wrapping them in linen strips. Osiris came to life, impregnated Isis, and became lord of the underworld; their son, Horus (on the right), became lord of the earth. By wrapping mummies, Egyptians sought to make the corpse resemble Osiris so that the deceased’s spirit would also live eternally in the hereafter. (shelf, left to right) Isis suckling Horus Egypt 7th–1st century b.c.e. Bronze with gold inlay Purchase: William Rockhill Nelson Trust, 43-25

Osiris Egypt 7th–1st century b.c.e. Bronze with gold inlay Purchase: William Rockhill Nelson Trust, 43-27

The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

Horus as a child Egypt 7th–1st century b.c.e. Bronze with gold and silver inlay Purchase: William Rockhill Nelson Trust. 55-100

Mummy of Ka-i-nefer Egypt ca. 200 b.c.e.–200 c.e. Human remains, linen, resinous material For Myths and Mummy see the labels to your far left. Purchase: acquired through the generosity of Jean H. Deacy 2004.11 A Spell to Be Recited for the Mummy of Ka-i-nefer To be recited: Peret kheru en ka en Ka-i-nefer (A prayer for bread and beer for the ka of Ka-i-nefer.) The Egyptian believed that the ka, the vital life force of the deceased, needed to be fed either with actual food or through a spell so that the spirit of the deceased could continue living in the hereafter. Accordingly, you may wish to utter this 4,500-year-old spell translated and sounded out above for our mummy, Ka-i-nefer.

Gallery P3: Ancient Art (Egypt, Near East, Greece, Rome) Case 13 – Mesopotamia Some of Our Earliest Art… This art dates to the third millennium b.c.e. and is among the earliest in the Museum. Some of these works predate the Egyptian sculptures to your far right. Most of this art comes from Mesopotamia (modern-day Iraq). Already there is a clear interest here in themes and styles that can be traced for millennia throughout Near Eastern art: the portrayal of both animals (often aggressive ones) and a love of pattern and minute detail. Support of a Vessel with Two Lions Attacking a Bull Provenance unknown Jamdat Nasr Period ca. 3000 b.c.e. Limestone A struggle to kill and survive are portrayed by these two lions attacking a bull between them (his rump is still visible). This scene formed the support of a vessel The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

that probably stood in a temple. The precise religious significance of the scene remains unclear. Purchase: William Rockhill Nelson Trust, 35-319 Head of a Woman Khafajah Early Dynastic III mid-3rd millennium b.c.e. Limestone with shell and lapis lazuli Purchase: William Rockhill Nelson Trust, 55-43 Foundation Figures Girsu (modern Tello) Second Dynasty of Lagash, reign of Gudea ca. 2090 b.c.e. Bronze These two figures were set onto mud bricks in the foundations of a temple. They magically protected the building. The bull horns on each figure’s cap indicate that a god is portrayed; the same device reappears more than a thousand years later on the large relief to your left. Purchase: William Rockhill Nelson Trust,30-1/50, 51 Vase Tepe Giyan Late 3rd millennium b.c.e. Terracotta with paint Purchase: William Rockhill Nelson Trust,35-37/8 The Art of Ur Perfume Dropper Silver and lapis lazuli

Bracelet Gold and lapis lazuli Early Dynastic III, mid-3rd millennium b.c.e.

The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

Leaves from a Headdress Gold

Earrings Gold In the late 1920s, archaeologists uncovered much of this jewelry in the royal cemeteries of Ur, the home of the patriarch Abraham. Purchase: William Rockhill Nelson Trust, 33-356, 33-355/1–2, 33-364, 35-317/1 Case 14 - Luristan Art on the Fringes of Power The bronzes in this case come from Luristan, at the eastern edge of the Assyrian Empire (modernday western Iran). Although Luristan artists continued a Near Eastern preference for animals, patterns and fine detail, they dramatically reconfigured the appearances of animals, stretching necks and torsos and adding biting heads improbably here and there. Assyria Winged Genie Fertilizing a Date Tree Nimrud 884–860 b.c.e. Limestone This relief comes from one of the largest kingdoms of the ancient Near East, the Assyrian Empire. Along with many other reliefs, it lined the brick walls of the palace of Ashurnasirpal II (Ash-ur-NAS-ir-pal) in Nimrud, the 9th-century b.c.e. capital of Assyria. The relief depicts a winged genie fertilizing a highly stylized date tree; dates were prized as a nutritious and easily preserved fruit. Although the process of artificially fertilizing date trees was commonly practiced, the relief indicates that the bearing of fruit was regarded as an awesome manifestation of the power of divine forces. The exaggerated muscles of the genie’s legs and arms express this power, and the disproportionately large size of his raised right hand draws attention to his labors. The finely detailed patterning of his wings, hair and garment is typical of Near Eastern art. A cuneiform inscription across the relief records Ashurnasirpal’s many conquests, all accomplished with divine support. Purchase: William Rockhill Nelson Trust, 40-17 Case 16 – Archaic Greek Art Archaic Greek Art The early Greek art in this case melds in almost equal proportions the abstract and realistic. Details of each figure were rendered in lively paint. The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

Banqueter Possibly from southern Italy Late 6th century b.c.e. Terracotta The sculpture portrays a banqueter attending a feast in honor of a deity; it probably stood as a gift to this god in a temple. The figure may seem feminine to modern eyes. The long hair, however, was common for men and the soft rendering of features, typical of the period. Purchase: William Rockhill Nelson Trust, 51-2 Kouros (Boy) Probably from Atticaca. 490 b.c.e. Marble This head belonged to a statue probably set up over a tomb, depicting a nude, striding youth. Made of marble, it must have been far more costly than the two terracotta sculptures here. The artist was one of the best of his time, combining in harmonious curves the lips, eyes and line of the curls. Purchase: William Rockhill Nelson Trust,38-7 Figure of a Youth Possibly from Sicily ca. 500–490 b.c.e. Terracotta This now-fragmentary sculpture may have portrayed a reclining banqueter such as the figure below it. The extraordinary modeling of the body reveals rather realistic abdominals but also a superb, geometrically designed arch marking the edge of the ribcage. Purchase: William Rockhill Nelson Trust, 48-54 Case 24 - Egyptian Relief possibly of Nectanebo I or II Egypt Late Period, 30th Dynasty 380–343 b.c.e. Limestone Ancient Egypt knew no separation of church and state: a semi-divine ruler, the pharaoh embodied both. Accordingly, he was the perfect chief priest, a suppliant to gods on behalf The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

of Egypt. On this relief, the pharaoh makes an offering of wine to the gods. The artist has given great attention to his work, delicately modeling the ear and snake (uraeus) that descends from the crown, protecting the king. Gift of Milton McGreevy, 51-75 Statuette of Achoris or Nectanebo I Egypt Late Period, 29th to 30th Dynasty 393–362 b.c.e. Bronze This pharaoh kneels down and extends his arms to make an offering to the gods. The artist has vividly portrayed the king’s heavy, middle-aged face and the flesh of his thighs spreading as they press down on his lower legs. Purchase: William Rockhill Nelson Trust, 53-13 Priest Egypt Late Period, 26th Dynasty 664–525 b.c.e. Bronze Hem-netjr, or ―servant of god,‖ is the Egyptian title for priests. In many instances theirs was a part-time job, sometimes lasting just for a few months. This figure’s shaved head and body define him as a priest. Humbly kneeling, he raises his hands in adoration of a now-unseen god. Purchase: William Rockhill Nelson Trust, 48-26 Portrait, possibly Ptolemy I Egypt Probably early Ptolemaic Period ca. 305–250 b.c.e. Gypsum In 332 b.c.e. Alexander the Great conquered Egypt. His general Ptolemy became its ruler and established a dynasty lasting until the famous Cleopatra VII. Some scholars have argued that this is his portrait. The high quality of work, however, cannot be disputed. The remarkable integration of forms, as for example the way the corners of the lips fold into the cheeks, makes it a tour de force. Purchase: William Rockhill Nelson Trust, 34-141

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Two-sided Relief with Portrait of a Pharaoh and Two Heads Egypt Late Period to Ptolemaic Period26th Dynasty to Ptolemaic Dynasty 664–32 b.c.e. Limestone Archaeologists often lack sufficient information to identify pharaohs portrayed in statues or reliefs from late Egyptian history. Although the identity of this pharaoh remains a mystery, his soft flesh and double chin provide a clear image of prosperous middle-age. Purchase: William Rockhill Nelson Trust, 41-44 Young Woman Egypt Late Period, possibly 26th to 25th Dynasty 7th century b.c.e. Wood Scholars have speculated this may be the wife of Mentu-em-hat, the main figure on the relief to your left. Purchase: William Rockhill Nelson Trust,47-25 Case 27 – Tell el-Amarna (Egypt) Boundary Stela with Queen Nefert-iti and Princess Meket-Aten Tell el-Amarna 18th Dynasty 1353–1336 b.c.e. Nummulitic limestone The pharaoh Akh-en-Aten radically changed Egypt’s traditional religion. He believed not in many gods, but in one—Aten, the great solar disk. Akh-en-Aten’s wife Nefert-iti and their daughter Meket-Aten appear here worshipping Aten. This relief belonged to a larger composition including Akh-en-Aten standing before them. Carved directly onto a cliff, it was a boundary marker of the pharaoh’s new town, Akhet-Aten. His daughter’s nowmissing head had been carved on a separate stone (the cliff’s rock was poor here) and added. The relief’s unprecedented artistic style reflects the radical newness of Akh-en-Aten’s faith. Nefert-iti is portrayed with courtly elegance. Her jaw, ear, arms and fingers are brilliantly attenuated. Her lips are full; her hands, delicate. Meket-Aten’s spindly legs emphasize her large thighs and hips, revealed— surprisingly—under her nearly transparent dress. This artistic style and heretical religion ended soon after Akh-en-Aten’s death. The relief of Ramses II to your right reflects the subsequent return to Egyptian artistic traditions. Purchase: William Rockhill Nelson Trust, 44–65 The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

Princess Tell el-Amarna New Kingdom, 18th Dynasty ca. 1352–1336 b.c.e. Limestone with paint This daughter of Akh-en-Aten appears as a young teenager in the nude. Her fertility is emphasized. She holds a pomegranate—a symbol of fecundity—in her raised hand. Her arm frames and draws attention to her developing breasts. The narrowness of her shoulders emphasizes the breadth of her hips. Traces of black still outline her large eyes; her full lips were painted red. The large lock of hair to her side was a fashion reserved for the young. The style— for example, the elongation of the skull—is unique to Akh-en-Aten’s reign. Purchase: William Rockhill Nelson Trust, 47–13 Funerary Jewelry Tell el-Amarna New Kingdom, 18th Dynasty 1336–1327 b.c.e. Gold with lapis lazuli Tut-ankh-Amun, or King Tut, ruled after the death of his father, Akh-en-Aten. Rejecting his father’s belief in just one deity, Tut-ankh-Amun restored to Egypt the worship of its many traditional gods. Some of Tut-ankh-Amun’s jewelry is displayed here. The sequins—there were a great many of them— were sewn into his linen garment. The two falcons served as the ends of a necklace. Representing the great Egyptian sky-god, Horus, they protected him. The inset blue lapis lazuli stone was imported from distant Afghanistan. Purchase: William Rockhill Nelson Trust, 67-21/1-7 Egyptian: Old Kingdom Statue of Metjetji Saqqara Old Kingdom, probably late 5th Dynasty ca. 2375–2345 b.c.e. Wood and gesso with paint, copper, alabaster and obsidian Never meant for pleasurable public viewing in a museum, this sculpture was religious in character and would have been seen by few Egyptians. It comes from a mastaba, a funerary complex for the elite of 3rd-millennium b.c.e. Egypt. The deceased was buried in the mastaba’s underground chamber. Located above were the mastaba’s chapel and a small room for a statue like this one. Priests—usually the deceased’s close relatives—left food before the sculpture. The deceased’s vital force—the ka—would leave the mummy, enter the statue and absorb the essence of the food. The spirit of the deceased could thereby continue life in the hereafter. In all The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

likelihood, the sculpture does not reflect Metjetji’s actual appearance. He is portrayed as young and vigorous, as befits a vessel for his vital force. He probably died an older man. The dryness of the desert and safety of the mastaba helped preserve this statue for 4,500 years. Purchase: William Rockhill Nelson Trust, 51-1 Metjetji with His Daughter and Son Saqqara Old Kingdom, probably late 5th Dynasty ca. 2375–2345 b.c.e. Limestone with paint The two reliefs on this wall framed the entrance to the tomb of Metjetji. (His statue is to your left.) Metjejti’s spirit appears striding outside the tomb among the living in daylight. His spirit can venture forth in part because his vital life force has been fed by offerings left in his tomb. Purchase: William Rockhill Nelson Trust, 52-7/2 Metjetji with His Sons Saqqara Old Kingdom, probably late 5th Dynasty ca. 2375–2345 b.c.e. Limestone with paint This relief and its companion on your right stood at the entrance to the tomb of the nobleman Metjetji. (His statue is also to your right.) Metjetji appears much bigger than his two children at his feet. This reflects the relative importance of the figures rather than their actual relative sizes. The artist has portrayed Metjetji with a large body and broad shoulders, but a small head to make the image seem especially grand. Some 4,000 years later, Michelangelo used a somewhat similar device in painting the Sistine Chapel. The long inscriptions include Metjetji’s official titles. Purchase: William Rockhill Nelson Trust, 52-7/1 Nefu, Inspector of the Treasury Giza Old Kingdom, 5th Dynasty ca. 2445–2345 b.c.e. Limestone with paint Nefu’s large wig, necklace and bracelets suggest prosperity—so too does his heavy, middle-aged face. (Surprisingly, his thin moustache resembles those of 1930s movie stars.) Nefu appears particularly lively: his eyes are wide open and attentive, his head leans slightly forward, his The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

torso is taut and upright. This is appropriate: set in a chapel over his tomb chamber, the statue served as a temporary vessel for his vital life force. Given the sculpture’s primarily magical function, there is little reason to assume it accurately portrays Nefu. Purchase: William Rockhill Nelson Trust, 48-47 A Nobleman and His Wife Egypt Old Kingdom, 5th Dynasty 2494–2345 b.c.e. Painted limestone Husband and wife both wear wigs. The man’s wig was a status symbol not unlike the powdered wigs of 18th-century dandies. Additionally, being able to wear short hair diminished the ever-recurrent problem of lice. For the woman, the wig was a sign of wealth. Perfumed, it could become an effective means of seduction. Purchase: William Rockhill Nelson Trust, 61-8 Relief from the Tomb of Ny-ankh-nesuwt Saqqara Old Kingdom, early 6th Dynasty ca. 2345–2320 b.c.e. Limestone with paint This relief and several others once lined the walls of a funerary chapel that stood over Ny-ankhnesuwt’s burial chamber. On the relief’s top register, servants gather papyrus plants from which they fashion rope and a boat. In the middle tier, they fight on similar papyrus boats, and below they bring cattle and fish to Ny-ankh-nesuwt. The boats of the middle register carry fowl, containers of food and even a heifer. Probably the servants on these boats fight each other to be the first to bring Nyankh-nesuwt this grand meal. In fact, it was hoped that these servants would magically come to life and feed him in the hereafter. The artist skillfully arranged the images so that the figures and boat on the top register were harmoniously aligned with the boats and servants below. Purchase: William Rockhill Nelson Trust, 30-14 Relief of Ka-aper and Tjenetet Saqqara Old Kingdom, early 5th Dynasty ca. 2494–2487 b.c.e. Painted limestone This fragmentary relief originally portrayed the complete figures of Ka-aper, his wife, Tjenetet, and their small child. The relief and many others lined the walls of their expensive funeral chapel. As a military commander and high-ranking official in the royal court, Ka-aper could well afford such a The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

tomb complex. The couple’s skin colors reflect culturally approved gender roles. While she is fairskinned—wealthy women should stay indoors and not have to work—his tan reflects outdoor masculine pursuits. Damage to the eyes reveals that ancient tomb-robbers gouged them out to avoid the evil-eye. Tjenetet’s delicately rendered ear, however, remains intact. Purchase: William Rockhill Nelson Trust, 46-33 Ra-wer Giza Old Kingdom, late 5th to early 4th Dynasty 2503–2455 b.c.e. Limestone This statue of the nobleman Ra-wer stood inside his tomb complex and once belonged to a group of figures; his daughter’s hand is still on his right leg, and his mother’s hand is on his torso’s right side. Energetic and powerful, Ra-wer strides forward bolt-upright, chest out, shoulders back. His appearance reflects the sculpture’s essentially religious function. Priests and relatives would leave food directly before it—thus its extreme frontal position. The ka— his vital life force—would temporarily enter the statue and absorb the essence of the nourishment: now his spirit could exist in the afterlife. The statue’s vigorous appearance matches the nature of his ka. This sculpture and others nearby are among the earliest in the Museum. They stand near the beginning of a long tradition of the human figure—especially the young and vigorous one—as the primary subject of Western art. A look down this gallery reveals the evolution of this tradition. Purchase: William Rockhill Nelson Trust, 38-11 Egyptian: Middle Kingdom Sen-useret III Egypt Middle Kingdom, 12th Dynasty ca. 1874–1855 b.c.e. Yellow quartzite I have made my frontier by going further south than my fathers; I have increased what has been bequeathed to me…. To be aggressive is to be valiant; to retreat is to be wretched. —King Sen-useret III’s account of securing his domain in the south. Sen-useret III is shown wearing the royal nemes, a striped headcloth. The uraeus, the rearing cobra over his forehead, protected him against evil forces. This exceptional sculpture is in many respects— but not all—realistic. It is not completely how a mortal looks. The face is too smooth, lacking all the wrinkles of age; the head is over life-size. The sculpture is thus monumental, suggesting the pharaoh’s omnipotence. The weariness apparent in his face might reflect the strain derived from ruling all Egypt, from being the sole shepherd of so large a flock. The sculpture is among the first in a long line of great ruler portraits in Western art—Caesar, Louis XIV, Abraham Lincoln. Purchase: William Rockhill Nelson Trust, 62-11 The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

Egyptian: New Kingdom Banquet Scene Thebes New Kingdom, 18th Dynasty ca. 1400 b.c.e. Paint on straw and mud This fragment comes from a far larger composition of a grand banquet painted in the interior of the tomb of two prominent sculptors, Neb-Amun and Ipu-ky. Such banquets frequently appear in tombs since they helped ensure that the deceased would eat well in the hereafter. The cat under the chair still seems ready for a snack. The women wear large cones of scented fat on their heads. As the evening progressed, the cones melted, giving the ladies a perfumed allure. Purchase: William Rockhill Nelson Trust, 64-3 Relief of Ramses II Egypt New Kingdom, 19th Dynasty 1279–1213 b.c.e. Red quartzite One of the mightiest and most long-lived pharaohs, Ramses II is shown here early in his reign. He is about to perform a religious ritual with his raised, water-filled jar. His name appears in hieroglyphs on the left; they were deeply carved so subsequent rulers could not erase and replace them with their own names. Although the artist portrays Ramses II with a long aquiline nose, the image remains highly idealized, as suited a ruler born of divine parents. The portrait’s delicate features stand in contrast to the powerful, emotion-filled image of Sen-useret III behind you to the right. Purchase: William Rockhill Nelson Trust, 32-195 Egyptian: Late Period Horus of Buto Probably Sais, northern Egypt Late Period, 26th Dynasty 664–525 b.c.e. Bronze Hoping to secure a favor or give thanks for one, a wealthy Egyptian commissioned this sculpture of Horus and dedicated it in his temple. Horus originally held in his right hand a sign of life, the ankh (å), and in his left, a scepter. He also wore a crown. The round mane with delicately radiating hairs frames and draws attention to his face. It also covers a potentially awkward transition from a human neck to a lion’s head. The upright posture suggests power and authority. This lion-headed Horus, son of Wadjet, had his cult center in Buto, northern The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

Egypt; his half-brother, Horus the Sky God, son of Isis, was more widely worshiped. He is portrayed as a hawk, to your right. Purchase: William Rockhill Nelson Trust, 44-64 Relief of Mentu-em-hat and Anubis Thebes Late Period, late 25th to early 26th Dynasty 665–650 b.c.e. Limestone with paint Probably one of the most able statesmen of his time, Mentu-em-hat maintained political power in southern Egypt though the reign of four different pharaohs and three invasions by Assyrian armies. Here, he is portrayed as a priest before the jackal-headed god of cemeteries, Anubis. The heavy bags under his eyes and strong jowl are features of man in late middle age; his look, that of man accustomed to wielding great power. For a large relief from the Assyrian Empire, see the opposite side of the gallery. Purchase: William Rockhill Nelson Trust, 48-28/1, 2 Horus as a Hawk Egypt Late Period to Ptolemaic Period, 26th Dynasty to early Ptolemaic Dynasty 664–200 b.c.e. Basalt Portrayed here as a hawk, Horus, lord of the sky, was one of the chief, oldest deities of Egypt. A mythical king of early Egypt, Horus became the patron of pharaohs and supporter of monarchy. Some kings were seen as earthly manifestations of Horus. The statue probably stood in a temple as a pious gift to the god. The artist has chosen not to render the fine details of the hawk’s plumage, thus leaving broad sweeping planes, the very image of power. Purchase: William Rockhill Nelson Trust, 34–140 Egyptian: Roman Period Portrait of a Woman Antinoopolis Roman Period, 130–161 c.e. Encaustic on wood panel with gilt stucco This portrait of an unknown woman is the latest Egyptian work in this room, made when Egypt was part of the Roman Empire. It was meant to be placed over the face of a mummy. (An earlier mummy mask, of Meret-it-es, is in the first gallery.) The portrait is arresting: her wide eyes, framed and emphasized by her heavy brows, stare out at the viewer as though she is alive today. The artist painted it using the encaustic The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

technique. Mixing organic colors in hot beeswax, he applied the hot paint to a specially prepared wooden board. One Greek writer, the so-called Pseudo-Plutarch, appropriately commented: A beautiful woman leaves in the heart of an indifferent man an image as fleeting as a painting on water. In the heart of a lover, this image is fixed with fire like an encaustic painting, which time can never erase. Purchase: William Rockhill Nelson Trust, 37-40 Persian The Persian Empire and Persepolis The bull and relief to your left are from Persepolis, the ceremonial center of the Persian Empire. This empire (dating 549 to 330 b.c.e.) was one of the largest kingdoms of the ancient worlds. It even ruled—for a brief time—Egypt and threatened the Greek mainland. Located in southern Persia, Persepolis’ magnificent palaces occupied an enormous platform measuring 1,500 by 900 feet. Each year envoys from subject nations came to Persepolis and offered glorious gifts to their Persian master, the King of Kings. The western troops of Alexander the Great burned the site in 330 b.c.e., allegedly to avenge the far earlier Persian invasion of Greece. Palace Servants Persepolis 5th–4th century b.c.e. Limestone A Persian servant bears a covered bowl; the partially preserved figure behind him grasps a young goat. This fragment belonged to a long relief of servants carrying food and wine to their king, a scene inspired by actual processions at royal banquets.The broad, even, sweeping folds of the servant’s garment have an abstract and harmonious character; the richly patterned—and equally abstract—beard and forelocks draw attention to the face. The relief was probably brightly painted and contrasted with the dull hues of the nearby landscape. Purchase: William Rockhill Nelson Trust, 33-10 Capital in the Shape of a Bull Persepolis ca. 518-460 b.c.e. Bituminous limestone This bull was set back to back with a matching partner. The two rested on top of a column, supporting on their backs a crossbeam of a palace’s giant roof. The bull’s strength makes it an apt support for a roof; further, the bull itself is a symbol of the power of the Persian Empire. The back, legs, chest and a few parts of the bull’s face have been restored. The separately made ears and horns are now missing; the original brilliant paint on the bull has disappeared. Purchase: William Rockhill Nelson Trust50-14

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Etruscan The Etruscans Long before the conquests of Roman legions, the Etruscans dominated much of Italy; their period of greatest prosperity was roughly between 700 b.c.e. and 500 b.c.e. Their cities formed a confederation which extended north to the Po Valley and south to the Bay of Naples. The success of this remarkable confederation was owed to its rich pastoral and agricultural lands and its abundant tin, copper and iron deposits. It was, among other things, the allure of these minerals that led Greeks to establish colonies in southern Italy to trade with the Etruscans. Due in part to the extensive contact with these colonies, the Etruscans developed an art whose style and subject matter were in many ways Greek. The Etruscan copper and tin provided the raw material to make bronze, the metal used to make the statuettes in the case on your right. Bowl Possibly from Mazanderan, Iran 2nd century b.c.e. Gilded silver The shape and decoration of this bowl are Greek. The probable findspot of the bowl in Iran helps testify to the spread of Greek culture to the Near East. Purchase: William Rockhill Nelson Trust, 35-37/2 Cycladic Idol From the Cyclades Mid-third millennium b.c.e. Marble This is the earliest sculpture in our Greek collection, and it is a typical example of a Cycladic ―idol.‖ The folded arms dramatically frame the breasts, and the pubic triangle emphasizes the genitals; most other details—mouth, ears and eyes, for instance—have been eliminated. Fertility seems to be a key idea behind the sculpture. Because of this and because most sculptures like this come from tombs, the figure may have been meant to help the deceased be reborn into the afterlife. The identification of its function remains controversial. The figure’s highly abstract appearance contrasts with that of the nearly contemporaneous Egyptian sculptures such as Ra-wer in the niche at the end of the gallery and the later Greek and Roman sculptures behind you. Purchase: William Rockhill Nelson Trust, 35-41

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Greek and Roman Heracles From Italy 1st-century c.e. copy or version of a 4th-century b.c.e. original Bronze Voluntarily choosing a life of hardship and sacrifice, Heracles rid the world of beasts and monsters, He thereby obtained immortality. In the first of his many labors, he slew a lion that had been ravaging the area of Nemea, Greece. He now wears the lion skin draped over his left arm. The Nemean lion skin also appears on the head of Heracles to your right. Purchase: William Rockhill Nelson Trust, 46-37 Kneeling Satyr Said to be from the vicinity of Pergamon, in modern-day Turkey 2nd or 1st century b.c.e. Bronze with traces of silver in the eyes This statuette depicts a follower of the god of wine, Dionysos. A late-night carouser, he probably served here—most appropriately—as a lamp-stand. The tree probably held oil lamps in its branches. The twists and turns of the satyr’s torso recall those of the marble statue of the satyr to your left. Purchase: William Rockhill Nelson Trust,53-82 Cases 17&18 - (Greek & Etruscan) Later Approaches to Art The sculptures in this case reflect a very different approach to art than what we see in the case to the right. The artists have become far more interested in realistically portraying the body. However, they do not offer a precise reproduction of human anatomy: with few exceptions, the Greeks transformed (i.e., altered), to one degree or another, the appearance of their subjects in art, often raising them to a higher plateau. Youth Said to be from Cumae, Italy ca. 450 b.c.e. Bronze The relaxed pose of our youth was common in contemporaneous Greek sculpture. The marble torso on your right exemplifies the more dynamic sculptures of a later period. Purchase: William Rockhill Nelson Trust,56-79 The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

Relief with Helios From Italy ca. 400 b.c.e. Marble Bringing daylight to the world, the sun god, Helios, rises from the waves of the ocean in a four-horse chariot. Originally the relief was painted and may have stood in a sanctuary. This sculpture was probably made in a Greek colony in southern Italy. Purchase: William Rockhill Nelson Trust,45-32/7 Hephaestus Findspot unknown 1st- or 2nd-century c.e. copy or adaptation of a Greek statue Bronze Hephaestus was the god of fire and so was associated with those crafts that required its heat. He was the patron deity of jewelers, armorers and blacksmiths. Ready for work, Hephaestus held a hammer in his right hand and tongs in his left. Purchase: William Rockhill Nelson Trust,82-5 Greek Mirror Said to be from an Etruscan tomb 465–450 b.c.e. Bronze The disk was originally highly polished to provide a clear, reflective surface. The youthful girl supporting it may be just a maiden. Alternatively, and as would be particularly appropriate, she may be Aphrodite, the goddess of love. The two winged creatures fluttering over her head are Erotes (cupids). Purchase: William Rockhill Nelson Trust,60-84 Case 19 – Etruscan Etruscan Statuette From Italy 3rd to 1st century b.c.e. Bronze This statuette was probably placed in a sanctuary as a gift to the gods. The figure’s pose is based ultimately on Greek originals from the fifth and fourth centuries b.c.e. Purchase: William Rockhill Nelson Trust, 47-5 The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

Etruscan Statuette of Heracles From Italy 4th century b.c.e. Bronze Purchase: William Rockhill Nelson Trust,49-76

Etruscan Statuette From Apiro, Italy 460–450 b.c.e. Bronze This statuette ranks among the largest and most beautiful Etruscan sculptures in American collections. A photograph made soon after the statuette was discovered reveals that the figure held a lance in his raised right arm. Thus the sculpture may portray Maris (the Etruscan warrior god) or Hercle (the Greek Heracles) or simply a mortal. The pose of the figure is based on slightly earlier Greek sculptures. Purchase: William Rockhill Nelson Trust,30-12 Cases 20&21 (Greek) Greek Vases Between 600 and 400 b.c.e. Athens was the center for the creation of vases that were made of baked clay (terracotta) and painted with beautiful scenes. The potters and painters of Athens produced tens of thousands of these vases and exported them throughout the Mediterranean Basin. They have been found everywhere from France to Israel; Italy seems to have been one of their biggest customers. Who could afford them? How much did they cost? Archaeologists have only a rough idea. Some vessels have their prices scratched into their bottoms: one sold for 5 obols (perhaps a little less than two days’ average wages) and another for 17 obols (perhaps almost 6 days’ wages). Red-figure Lekythos (one-handled jug with narrow neck) Tradition of the Achilles Painter Made in Athens, Greece and found perhaps in Sicily About 450–430 b.c.e. Terracotta (baked clay) The winged goddess of dawn, Eos, amorously pursues here a youth named Tithonus. According to the myth, they became lovers. Eos then asked Zeus, the king of the gods, to make him immortal, and he granted her wish. Since, however, she failed to request that the youth remain eternally young, he grew astonishingly old. Eos decided to keep him in a locked room. The scene is appropriate for this vase which was intended as a funerary offering. Purchase: William Rockhill Nelson Trust, 33-3/2 The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

Black-figure Olpe (a vessel for pouring) By the Gorgon Painter Athens, Greece Probably 590–580 b.c.e. Terracotta (baked clay) The female-headed bird on this vase is called a ―siren.‖ With their lovely songs these mythological creatures charmed and tempted unwitting sailors who, following them to nearby shores, died. Gift of Mrs. Bertha Rockwell Venanzi, 59-22 Red-figure Amphora (two handled-vase) By the Syleus Painter Athens, Greece About 480 b.c.e. Terracotta (baked clay) On this vase is one of the earliest known representations of a secret ballot. After the Greek hero Achilles died at Troy, a dispute arose over who should receive his armour—crafty Odysseus or mighty Ajax. There were different myths about how the issue was resolved. In this version the Greek warriors wrote their votes on olive leaves and dropped them into a shallow cup held by the goddess Athena. Odysseus won; Ajax committed suicide. Purchase: William Rockhill Nelson Trust, 30-13 Black-figure Amphora (two-handled vase) By the Mastos Painter Athens, Greece About 530–520 b.c.e. Terracotta (baked clay) The presence of Dionysos, the god of wine, on this vase suggests that the vessel contained his preferred drink. Dionysos holds branches of ivy and a horn filled, no doubt, with wine. He appears with satyrs and his lovely consort, Ariadne. This vase was fashioned a generation before the vessel to your left and reflects a different—but no less beautiful—manner of drawing the human figure. Purchase: William Rockhill Nelson Trust, 33-3/1

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Red-figure Kylix (drinking cup) By the Euaion Painter Athens, Greece Probably 470–460 b.c.e. Terracotta (baked clay) This vase (seen here from underneath) was made for drinking wine at banquets and fine dinners. The artist (named by modern scholars ―the Euaion Painter‖) has appropriately decorated the cup with happy drinkers. Purchase: William Rockhill Nelson Trust, 51-58 Greek & Roman Head of a Goddess Probably from southern Italy 4th century b.c.e. Marble The identity of the goddess is unknown. Purchase: William Rockhill Nelson Trust, 33-3/4 Heracles Findspot unknown 1st-century b.c.e. or 1st-century c.e. copy of a 4th-century b.c.e. original Marble Purchase: William Rockhill Nelson Trust, 34-79

Grave Stele From a district near Athens, perhaps Halai Mid-4th century b.c.e. Marble Ancient Greek cemeteries were filled with as much art as any modern museum. Some of the best artists in Greece carved tombstones and grave markers. The monuments could be large, costly affairs. In fact, legislation was passed from time to time to limit the size of these monuments. Numerous large grave steles such as the one on your left were made in fourth-century b.c.e. Athens and its environs to celebrate the deceased. Members of the upper class and perhaps even those who were slightly less wealthy commissioned them. It is sometimes difficult to identify who is portrayed on these steles. On this relief the inscriptions along the upper part of the stele and the age of the figures are helpful. Probably the man and woman in the front were siblings. The older man between them may be their father. The figure in the upper right hand corner The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

in very low relief may be the siblings’ uncle or grandfather. The prominent position and large size of the seated woman in front may indicate that she is the deceased. Purchase: William Rockhill Nelson Trust, 31-65 Portrait of Antinous (?) From Italy 140–150 c.e. Marble Greek art influenced Roman sculpture. Even the portraits of Romans sometimes had a Greek flavor. On this sculpture of a Roman youth, the boy’s broad chest, heavy jaw and generally idealized features were meant to suggest a statue from the Classical Greek past. This portrait may be of Antinous, the lover of the emperor Hadrian (his portrait appears to your right beyond the niche). Antinous, a youth from Asia Minor (modern Turkey), met Hadrian on one of the emperor’s many travels East and became his constant companion. The youth drowned in the Nile in October 130 c.e. Deeply grieved by Antinous’s death, Hadrian declared that the youth had become a god, and he had temples with portraits of the boy set up throughout the Roman Empire. Purchase: William Rockhill Nelson Trust, 59-3 The Emperor Hadrian (ruled 117–138 c.e.) Probably from Italy About 130 c.e. Marble The Roman emperor Hadrian loved all things Greek. He wrote poetry in Greek, could discuss Greek philosophy and literature, and occasionally even dressed as a Greek. Here, in his portrait, one can see certain Greek traits. The wearing of a beard associates him with the world of Greek culture, and the idealized features of the face suggest the influence of Classical Greek art. He is portrayed in a military uniform since his role as general was critical to his rule. He wears a metal breastplate and under it (visible at the neck) a cloth tunic. A military cloak is draped over his left shoulder and was held by a now missing brooch. The head of Medusa stands out on his breastplate. This frightening image was originally meant to scare away potential danger. A portrait that may be of his lover, Antinous, appears to your left beside the statue in the niche. Purchase: William Rockhill Nelson Trust, 31-96

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Torso of a Satyr Probably found in Italy 1st- or 2nd-century c.e. Roman copy of a 3rd- or 2nd-century b.c.e. Greek sculpture Marble The tail on the back of the torso reveals that this is a satyr, a carousing follower of the god of wine, Dionysos. A precise reconstruction of the figure is difficult. The evidence indicates that he was dancing as he snapped his fingers in the air and kept rhythm with a clapper under his right foot (see drawing). Apparently, a nymph was seated near him preparing to join him in a dance. Purchase: William Rockhill Nelson Trust, 34-135 Grave Marker From a district near Athens, Greece Probably early 4th century b.c.e. Marble On this grave marker, a young man and woman—presumably a married couple— shake hands while two older men—probably their fathers—stand behind them. The couple has been separated by death. While it is unclear which spouse has died, their handshake and closely mirroring positions suggest a love transcending death. This grave marker, which is missing its upper part, was shaped like the clay vessels that were sometimes buried with the deceased as gifts (see, for example, the tall vase in the case to your left). Purchase: William Rockhill Nelson Trust, 31-86 Eastern Figure Probably from Italy Possibly 2nd century c.e. Marble This Roman copy of an earlier Greek sculpture may represent Paris, the legendary lover of Helen of Troy. Purchase: William Rockhill Nelson Trust, 47-14 Portrait of a Roman Youth From Italy Mid-2nd century c.e. Marble This second-century c.e. Roman portrait of a youth has many characteristics of fifth- and fourth-century b.c.e. Greek sculpture such as the shift of the boy’s weight and the idealized character of his entire body. The relatively realistic style of the head is, The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

however, Roman. Thus the sculpture combines Greek and Roman styles. A quiver to the boy’s right suggests that he is being identified with the god Apollo, who was often shown carrying a bow and arrows. Because in Roman Imperial times the deceased were sometimes sculpted as deities to indicate that they had become immortal, this boy’s sculpture was probably carved after his death. The ancient marble base upon which the statue stands is from Italy but was meant for another sculpture. Purchase: William Rockhill Nelson Trust, 34-91/1-2

Gallery P4: Rome Jewelry Cases Necklace with Gold Coins Said to be from a tomb at Aboukir near Alexandria, Egypt From the reign of Gordian III (238–243 c.e.) or slightly later Gold The coins have portraits of the following emperors and empresses: 1. Alexander Severus (222–225 c.e.) 2. Hadrian (117–138 c.e.) 3. Faustina the Younger (161–180 c.e.) 4. Caracalla (197–211 c.e.)5. Faustina the Elder (138–161 c.e.)6. Pertinax (193 c.e.) 5. Faustina the Elder (138–161 c.e.) 6. Pertinax (193 c.e.) 7. Gordian III (238–244 c.e.) 8. Elagabulus (218–222 c.e.) 9. Antoninus Pius (138–161 c.e.) 10. Caracalla (197–211 c.e.)11. Macrinus (217–218 c.e.)12. Antoninus Pius (138–161 c.e.) Purchase: William Rockhill Nelson Trust, 56-77 Earrings Probably from Taranto, Italy 3rd century b.c.e. Gold These two earrings come from Taranto, a Greek colony in southern Italy. They were made perhaps a few decades before Roman legions sieged and stormed this wealthy city, making it part of the Roman Empire. Gift of Veronica Björling and Diana Tolstoy F93-19/1,2 The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

Signet Ring with Apollo and Cassandra Said to have been found in Trapezus, Turkey 40–20 c.e. Gold and carnelian; by Aulos, son of Alexas Gift of Mr. and Mrs. Robert S. Everitt, F93-22 Necklace with a Portrait Medallion Said to be from a tomb at Aboukir near Alexandria, Egypt Probably from the reign of Gordian III 238–243 b.c.e. (or slightly later) Gold According to the Greek myth, Cassandra, the daughter of the king of Troy, fell asleep in a sanctuary dedicated to the god Apollo. The youthful Apollo saw the girl and immediately fell in love with her. He offered her the gift of prophecy as a bribe to consummate the relation. She accepted the gift but then denied Apollo her favors. The god punished Cassandra with the curse that no one would believe her truthful prophecies—a suitable punishment for a liar. The ring shows the moment when Apollo first sees Cassandra asleep. The artist, Aulos, was one of the foremost gemcarvers of the early Roman Empire. Purchase: William Rockhill Nelson Trust, 56-78 The Wealth of the Roman Empire The ring and necklaces in this case testify to the great wealth of the elite of the Roman Empire. Interestingly enough, the jewelry comes not from Rome but two of its most wealthy lands: the ring is from Turkey and the necklaces from Egypt. The Romans drew much of their wealth from these very lands by taxation. Also Egypt was the leading exporter of grain to Rome. Herm of a Satyr Said to be from Grottaferrata (near Rome), Italy Possibly 50–100 c.e. Marble Originally, a herm was a smooth, rectangular shaft with an erect phallus and portrait of the god Hermes. Possibly herms originated in early sixth-century b.c.e. Greece, where they first served as tombstones, road markers and cult statues. Over hundreds of years, their form and function changed. This Roman herm is of a satyr, a creature of pleasure and follower of the god of wine, Dionysos. He is aptly portrayed as a randy goat with long pointed ears and small horns on his forehead. The skin of a panther, an animal associated with Dionysos, hangs from his shoulders. If the herm is from Grottaferrata, it may have decorated one of the many private or Imperial villas in the area. Gift of Mr. and Mrs. Herman R. Sutherland, F70-41 The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

Middle-aged Man From the vicinity of Alexandria, Egypt Probably about 220–230 c.e. Marble Purchase: William Rockhill Nelson Trust, 47-14 Eastern Figure with a Phrygian Cap Probably from Italy Possibly 2nd century c.e. Marble This Roman copy of an earlier Greek sculpture may represent Paris, the legendary lover of Helen of Troy. Purchase: William Rockhill Nelson Trust, 32-146 Emperor Severus Alexander Probably from Italy About 225 c.e. Marble A close look at this portrait reveals several peculiarities. The long hair on the crown of the head contrasts with the otherwise short-cropped hair. The neck is disproportionately wide, and deep channels in the sideburns seem out of place. The head was carved from an earlier portrait. This explains the discrepancies. The large neck and the hair of the crown belonged to the original sculpture. The peculiar channels in the sideburns were the canals of the original ears. The size of the neck shows that the original was over life-size and suitable for recarving a life-size portrait. The nose was made separately and attached. This may be a portrait of the Roman emperor Severus Alexander (222–235 c.e.), and it was recarved from a portrait of Elegabulus, the emperor who ruled directly before him. Elegabulus ruled so incompetently that after his assassination portraits of him were banned. Here, rather than destroying a perfectly good piece of marble, the Roman artist carved away Elegabulus’s features to make those of the new emperor. Purchase: William Rockhill Nelson Trust, 45-66A Castor or Pollux 2nd century c.e. Probably from Italy Marble This youth is either Castor or Pollux. These two brothers were the offspring of a mortal woman. They had different fathers: Castor was the son of a mortal prince while Pollux was the son of the king of the gods, Jupiter. Thus Castor was mortal and The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

Pollux, immortal. At the death of Castor, Jupiter offered the immortal Pollux a choice. He could remain immortal or he could divide immortality with his slain brother. They could live on alternate days in heaven and the Underworld. Out of love for his brother, Pollux chose to divide his immortality. The youths were associated with the constellation Gemini and thus they are portrayed with a star on their caps. Our figure cradles in his left arm a sword in a sheath. The statue may be an approximate copy of a famous fifth-century b.c.e. sculpture that stood at the entrance of the Acropolis in Athens. Purchase: William Rockhill Nelson Trust, 33-1533 Roman Sarcophagus Found in Rome 240–260 c.e. Marble In going through almost any modern cemetery one is struck by the anonymity of the dead: fields, crosses, a few inscriptions. Not so in the ancient Roman world. Aristocratic Roman families had large mausoleums within which were huge marble sarcophagi (coffins) carved with scenes of myths and even battles. Family members would visit the inside of these mausoleums and see these sarcophagi on special memorial days. This sarcophagus was carved for a wealthy woman who wished to be shown among the Muses, the spirits who governed cultural endeavors. Holding a scroll, the deceased stands in the middle of the Muses. All the figures can be identified by their clothes or by the musical instruments or other attributes they hold. The figure to the right of the deceased is Minerva, the leader of the Muses. She wears a helmet and carries a spear. On the other side of the deceased, the Muse Terpsichore, who governed lyrical poetry, carries a large lyre. Griffins, winged lions who protect the deceased, appear on the narrow sides. The deceased probably chose to portray herself among the Muses to show future generations she was a cultured lady. The imagery also suggests that she has passed from this world and found a place among the immortal Muses. She enjoys eternity because of her cultural achievements. Purchase: William Rockhill Nelson Trust, 87-21 Roman Sarcophagus From Italy Mid-2nd century c.e. Marble This sarcophagus, or coffin, depicts the Nine Muses, who governed cultural endeavors, and Apollo, their leader, in a sacred grove. The figures are identified by the objects they carry. For instance, Melpomene, the third from the left, carries a tragic mask since she governs tragic theatre, and Urania, the third from the right, points down at a globe since she governs astronomy and astrology. Apollo stands second to the left with his large cithara. On the narrow sides are mythical sea creatures, tritons and sea nymphs. The reliefs on Roman sarcophagi were among the most important sculptures of the ancient world. Many were carved by some of the finest artists of the time. The best were made for aristocratic families from about 125 c.e. until the collapse of the Roman Empire. The style and nature of the reliefs changed extensively during this long period. The Muse sarcophagus opposite this one on the other narrow wall of this gallery was sculpted about one hundred years later. The differences are striking. The figures have become grander. The contrasts of darks and The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

lights have become greater, and the proportions of the figures have changed dramatically. More significantly, the deceased stands prominently among the Muses in the later relief as though she has joined them in the hereafter. Purchase: William Rockhill Nelson Trust, 33-38 Caracalla (ruled 198–217 c.e.) Probably from Italy 215–217 c.e. Marble One of Rome’s more emotionally disturbed emperors, Caracalla was responsible for the murder of his brother, wife, and father-in-law. With little economic savvy, he developed financial policies that led to a disastrous inflation. A military man, he commanded armies in England, northern Europe, and the Middle East. He was murdered in a palace coup. He is portrayed here as a leader of armies with a short military haircut, metal breastplate and mantle. A man of action, he turns his head, ready to give his next order. Purchase: Nelson Trust, 47-66 Arch (above) From Egypt Late 5th or early 6th century c.e. Limestone The crosses and the great cost of such a large, stone relief suggest that this arch came from a monastery or church. This relief is a fine example of Coptic art. Coptic art is generally defined as art created by the Coptic Christian sect in Egypt. The Coptic Church was founded in the mid-fifth century and continues to this day. The art of the Copts flourished from its birth to the Arab invasion in the seventh century c.e. Purchase: William Rockhill Nelson Trust, 48-11 Architectural Relief (above) From Egypt Possibly from the 6th century c.e. Limestone This relief, which probably lined the top of a wall, depicts the bounty of the earth—the abundance of plant life and the richness of the animal world. It was made almost two hundred years after the legalization of Christianity in the Mediterranean Basin. Much of the imagery though is copied from earlier pagan art. Purchase: William Rockhill Nelson Trust, 49-16 The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

Roman Gentleman Probably found in or near Rome About 120 c.e. Marble This portrait is brutally realistic. According to some doctors, the slightly drooping flesh of the man’s right cheek and jaw may indicate that at one time he had suffered a stroke. Purchase: William Rockhill Nelson Trust, 47-30 Funerary Portrait of a Woman Said to be from Alexandria, Egypt 120–130 c.e. Marble Hairstyles today reveal everything from one’s cultural preferences to one’s social class and age-group. Just so in antiquity. In this particular instance, the woman’s hairstyle reveals that she was an aristocrat since several servants were needed to comb and arrange her elaborate coiffure. The small acanthus leaves at the base of this portrait are equally revealing. They were used in antiquity to indicate that the sitter had died. They seem to suggest that the deceased will be reborn just as acanthus leaves are regenerated every spring. Purchase: William Rockhill Nelson Trust, 48-9

Wall Text Panels Art for Eternity The ancient Egyptian art in this gallery was never meant for a museum—most of it was never even meant to be seen by the living, but was intended for the tomb, where it helped the spirits of the deceased magically come alive and live on for eternity in the hereafter.Almost all of this art was commissioned by the very wealthy, a small elite in ancient Egypt. Much of it comes from a single tomb, that of Meret-it-es, a noblewoman from the 4th or 3rd century b.c.e. Found in tombs in the dry desert, the art in this gallery is astonishingly well preserved. Art in the Age of the Pyramids The sculptures in this room are among the earliest in the Egyptian collection. They date from the age of the great pyramids, the mid-3rd millennium b.c.e.; most were discovered in the tombs of the major cemeteries of northern Egypt, Giza and Saqqara. This was a period of great creativity, and the interest here in portraying the human f igure had a profound impact on much of Western art history. In a sense, these sculptures are the ancestors of Michelangelo’s David and Rodin’s The Thinker.

The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010

Black Land, Red Land The Egyptians named their land Kemet, the Black Land, referring to the rich dark soil directly to either side of the great Nile River. Each year the Nile f looded its valley, leaving behind fertile dark deposits of sediments perfect for growing crops. Beyond the rich valley lay the desert, what the Egyptians called Deshret, the Red Land. This inhospitable region helped buffer Egypt against invaders. Blessed with such boundaries and rich soil, Egypt thrived for thousands of years. The wealth and continuity of

Egyptian civilization helped support the development of great art. Since much of the art was intended for the eternal use of the deceased and was buried with them in the nearby desert, it has often remained well preserved and much as it first looked. Large and Dynamic, the Ancient Near East

The ancient Near East encompassed an enormous area several times the size of ancient Egypt. And just as the Nile River nourished Egypt, two large rivers fed the geographical center of the Near East, Mesopotamia. Powerful city-states, such as Ur, developed in Mesopotamia during the 3rd millennium b.c.e. Much later, enormous empires—the Assyrian and then the Persian—extended over Mesopotamia to the distant corners of the Near East and even conquered Egypt. Excavated in the 19th and 20th centuries, the large works in this collection come from the great palaces of Assyrian and Persian kings. Unlike the pharaohs of Egypt, their kings did not claim divine kinship— just divine approval and backing. Most of the other works, as for example the vases, were found in tombs. These vases are especially well preserved. Made of humble baked clay (terracotta), they can last as long as costly stone or expensive bronze; their forms are as elegant as their metal counterparts. Rome and Its Empire Founded in 753 b.c.e. as a small village in Italy, by the birth of Christ Rome had become the center of an empire of 50 to 60 million people—about one-fifth to one-sixth of the entire population of the world at that time. The Roman Empire stretched from present-day Spain to Syria, from the Rhine to the Nile; it measured more than half the size of the United States. The city of Rome had approximately one million inhabitants. Western Europe would not know so large a city—it was London—until 1800. The Roman Empire survived until 476 c.e. when a weak economy, incompetent rulers, renegade armies and barbarian droves caused it to collapse in exhaustion. The art in this gallery comes mostly from Italy, and some from Rome’s provinces, especially Egypt. The Greek Orbit The collection of Greek art in this gallery dates almost exclusively to the second half of the first millennium b.c.e. Many of the vase-paintings and sculptures were found not only on the Greek mainland but also in Sicily and southern Italy where the Greeks had major colonies. Because of the rarity of Greek sculpture, the gallery includes a few copies and adaptations of Greek art carved or cast by Romans in the first and second centuries c.e

The Nelson-Atkins Museum of Art Ancient Galleries Label Copy May, 2010