59 10 972 https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/60bd49fa03bd61ce8a5e6a6323a3dc33.jpg 9512c3ccf2096196311fab65384a123a Dublin Core 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/. Title A name given to the resource Late Antiquity, Seminar 2 IIIF Collection Metadata UUID 1f299e05-ea4a-4591-bd6a-7c09fd3e61c8 Still Image 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. Dublin Core 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/. Title A name given to the resource Missorium of Theodosius I Subject The topic of the resource Missorium of Theodosius I, 388, Roman, silver and silver gilt, diam: 74 cm, weight: 15.35 kg, Madrid, Academia de la Historia. Description An account of the resource Missorium of Theodosius I, 388, Roman, silver and silver gilt, diam: 74 cm, weight: 15.35 kg, Madrid, Academia de la Historia. This silver dish, most likely made in Constantinople, was meant to celebrate the tenth anniversary of Theodosius I’s (r. 379-95) reign and would have been given as a gift to a member of his court or a civil or military officer as part of the ceremonial largitio (largess, giving of gifts). Other similar objects of this type have also been found. The dish depicts the seated emperor, flanked by his co-emperors, Valentinian II and Arcadius, as well as members of the imperial guard. Winged erotes (putti) offer gifts to the emperor. Below the emperor is a depiction of Tellus, the Roman earth goddess along with other mythological figures. An inscription on the ring at the base reads, in Greek: ποc ↑Ν ΜεΤ: ποσότης λιτρῶν 50 μετάλλου (“50 metal pounds”). This unit of measure corresponds to 16.13 kg of silver, slightly more than the official weight of 15.35 kg, but this difference has been attributed to the possibility that the silver was weighted before the dish was decorated as well as the fact that there is a piece missing. The dish itself was found folded flat along the diagonal cut in 1847 in Almendralejo in Spain. Inscription: D(ominus) N(oster) THEODOSIVS PERPET(uus)AVG(ustus)OB DIEM FELICISSIMVM X “Our Lord Theodosius, perpetual emperor, on the happiest occasion of the tenth anniversary [of his reign].” Source A related resource from which the described resource is derived https://www.thebyzantinelegacy.com/theodosius-missorium Publisher An entity responsible for making the resource available Academia de la Historia IIIF Item Metadata UUID c524a5f8-ecee-482e-addd-b2db2fb33d9b https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/75e33a689664618b62b740c972307574.jpg 9875f4aea2478f73613c81c3dcf6fed7 Dublin Core 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/. Title A name given to the resource Late Antiquity, Seminar 3 IIIF Collection Metadata UUID a81e689f-e002-4457-8d8e-29a063d44f1d Still Image 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. Dublin Core 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/. Title A name given to the resource Mithras Slaying the Bull (Tauroctony) from the London Mithraeum Subject The topic of the resource Mithras Slaying the Bull (Tauroctony) from the London Mithraeum, late 2nd – early 3rd c, Roman, London, marble, 43.2 x 50.8 cm, London, Museum of London. Description An account of the resource Museum Description: “This marble sculpture is from the Temple of Mithras which once stood in the City. It shows Mithras plunging his dagger into the neck of a bull from whose blood sprang everlasting life. The inscription reads 'Ulpius Silvanus, initiated into a Mithraic grade at Orange, France, paid his vow to Mithras'. This could indicate that Silvanus built the temple in London. Mithras was originally a god from Iran. His cult was adopted in Rome and travelled the Empire with the army. Only men could become members.” Source A related resource from which the described resource is derived https://collections.museumoflondon.org.uk/online/object/467882.html Publisher An entity responsible for making the resource available Museum of London A16933 IIIF Item Metadata UUID 33bf1975-6b19-47e5-a31d-37b8c73f9964 Dublin Core 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/. Title A name given to the resource The Crusades in 20 objects Source A related resource from which the described resource is derived https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370 IIIF Collection Metadata Original @id https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370 JSON Data {"@context":"http://iiif.io/api/presentation/2/context.json","@type":"sc:Manifest","@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370","label":"The Crusades in 20 objects","description":"","sequences":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/sequence/1","@type":"sc:Sequence","label":"Default order","canvases":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3427.0","@type":"sc:Canvas","label":"Sugar Shaker, American, c. 1770","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3427.0","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2276%2Fb66edf32a2f7a1a65622e5e743456250.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2276%2Fb66edf32a2f7a1a65622e5e743456250.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":461,"height":1024},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3427.0"}],"description":"Silver sugar shaker designed by Robert Douglas, American (1740 - 1776), c. 1770","metadata":[{"label":"18th century","value":""},{"label":"Sugar shaker, silver","value":""},{"label":"Format","value":""},{"label":"Source","value":""},{"label":"https://www.harvardartmuseums.org/collections/object/232517","value":""},{"label":"Creator","value":""},{"label":"Dimensions","value":""}],"width":461,"height":1024},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3429.1","@type":"sc:Canvas","label":"Sugar Refinery, Medieval Cyprus.jpg","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3429.1","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2278%2F87c3338cb756c92dd6a696a787c8f9f1.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2278%2F87c3338cb756c92dd6a696a787c8f9f1.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":2048,"height":1360},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3429.1"}],"description":"Remains of an expansive sugar factory, part of the Crusader castle of Colossi, Cyprus, 13th century. \nWhat's the connection between \"sweet salt\" (=sugar), the Crusaders, and Cyprus?","width":2048,"height":1360},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3421.2","@type":"sc:Canvas","label":"Astrolabe","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3421.2","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2272%2Fb7d26a072e2a09fa2163aea61ff7c7ec.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2272%2Fb7d26a072e2a09fa2163aea61ff7c7ec.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":2995,"height":4000},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3421.2"}],"description":"Astrolabe of \u2018Umar ibn Yusuf ibn \u2018Umar ibn \u2018Ali ibn Rasul al-Muzaffari, later Sultan of Yemen (r.1295-96).\nBrass; cast and hammered, pierced, chased, inlaid with silver. Made in Yemen\nA.H. 690/ A.D. 1291\nThe Metropolitan Museum, NYC, Edward C. Moore Collection, Bequest of Edward C. Moore, 1891\nAccession no: 91.1.535a\u2013h","width":2995,"height":4000},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3441.3","@type":"sc:Canvas","label":"Seal of Baldwin II.jpg","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3441.3","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2290%2F510d5dab1ddf04be0ff05fb287cdd848.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2290%2F510d5dab1ddf04be0ff05fb287cdd848.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":500,"height":229},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3441.3"}],"width":500,"height":229},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3428.4","@type":"sc:Canvas","label":"Ducat (Zecchino) of Doge Alvise Mocenigo (r. 1722 - 1732)","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3428.4","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2277%2Fe712eacc3ed6387ee432e3796a8d5d68.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2277%2Fe712eacc3ed6387ee432e3796a8d5d68.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1024,"height":478},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3428.4"}],"description":"Ducat (Zecchino) of Doge Alvise Mocenigo, mint of Venice, 18th century.","metadata":[{"label":"18th century","value":""},{"label":"Coin, Gold","value":""},{"label":"Format","value":""},{"label":"Source","value":""},{"label":"https://www.harvardartmuseums.org/collections/object/183786","value":""},{"label":"Creator","value":""},{"label":"Dimensions","value":""}],"width":1024,"height":478},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3426.5","@type":"sc:Canvas","label":"Byzantine gold hyperpyron of Alexios I.jpg","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3426.5","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2275%2F709179bbbda9a7602d432563b29d9dda.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2275%2F709179bbbda9a7602d432563b29d9dda.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1024,"height":478},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3426.5"}],"description":"Gold Hyperpyron of Emperor Alexios I Komnenos of Byzantium (r. 1081-1118), mint of Constantinople","metadata":[{"label":"1091-1118 AD","value":""},{"label":"Coin","value":""},{"label":"Gold, Byzantine","value":""},{"label":"Source","value":""},{"label":"Harvard Art Museums","value":""},{"label":"","value":""},{"label":"Dimensions","value":""}],"width":1024,"height":478},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3419.6","@type":"sc:Canvas","label":"Marco Polo's Travels","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3419.6","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2271%2F6b5a2f9e6fff7c3f09877a489fa25dbc.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2271%2F6b5a2f9e6fff7c3f09877a489fa25dbc.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":746,"height":1054},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3419.6"}],"description":"The Travels of Marco Polo. The Polo Brothers bid farewell to Constantinople en route to Trebizond and the Silk Route. \nLe Livre des Merveilles,15th cent. Bibliotheque Nationale MS Fr. 2810.","metadata":[{"label":"Date","value":""},{"label":"Type","value":""},{"label":"Format","value":""},{"label":"Source","value":""},{"label":"Repository","value":""},{"label":"Creator","value":""},{"label":"Dimensions","value":""}],"width":746,"height":1054},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3435.7","@type":"sc:Canvas","label":"Crusaders in Sight of Jerusalem","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3435.7","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2284%2Fdfb345222b9cc4b1ea9ce59a7c62f78e.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2284%2Fdfb345222b9cc4b1ea9ce59a7c62f78e.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1024,"height":806},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3435.7"}],"description":"Hermann Freihold Pl\u00fcddemann, German (1809 - 1868), Crusaders in sight of Jerusalem. Print, \nHarvard Art Museums, European and American Art, R14699\n\nWhat has been the legacy of the Crusades in art, literature, and popular culture?","width":1024,"height":806},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3442.8","@type":"sc:Canvas","label":"A. D\u00fcrer, Knight, Death, and the Devil","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3442.8","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2291%2Fd9069b8447361a421cf794cfd42c6310.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2291%2Fd9069b8447361a421cf794cfd42c6310.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":805,"height":1024},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3442.8"}],"description":"Albrecht D\u00fcrer, German (Nuremberg 1471 - 1528 Nuremberg), \nKnight, Death, and the Devil. Print, 1513. \n\nHarvard Art Museums, G1112","width":805,"height":1024},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3436.9","@type":"sc:Canvas","label":"Richard and Saladin","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3436.9","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2285%2Fc850f1112c6e406a757d5e6c55789d72.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2285%2Fc850f1112c6e406a757d5e6c55789d72.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":2500,"height":1598},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3436.9"}],"description":"Earthenware floor-tiles, lead-glazed with inlaid slip decoration. Four quarter tiles making up a circular picture; six surviving fragments; representation of Saladin (Salah al-Din) on horseback, in combat with his adversary Richard I (Coeur de Lion). Made in Chertsey, Surrey, 13th century. Now part of the Collections of the British Museum, 1885,1113.9065-9070","width":2500,"height":1598},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3437.10","@type":"sc:Canvas","label":"The Crusaders Reach Jerusalem (from a set of Scenes from Gerusalemme Liberata) designed ca. 1689\u201393, woven 1732\u201339, MET","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3437.10","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2286%2F5c1d5c7eadc7772846e9b41cd0461c09.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2286%2F5c1d5c7eadc7772846e9b41cd0461c09.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":4000,"height":2513},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3437.10"}],"description":"Commissioned by Cardinal Pietro Ottoboni, a great-nephew of Pope Alexander VIII, this was part of a massive series, heroic in scale as well as narrative, of fifteen tapestries depicting the romanticized version of the Christians\u2019 First Crusade into Jerusalem recounted in Tasso\u2019s sixteenth-century epic poem, Gerusalemme Liberata (Jerusalem Delivered).\n\nAs the crusaders reach the city of Jerusalem, two of the Christian leaders kneel in the foreground, both in Classical armor with garments of red, blue and yellow. The younger man is presumably Godfrey of Bouillon. Other mounted men in gray armor are seen behind. Rising in the background on the right are the walls of Jerusalem.\nThis exquisite tapestry, made of silk and wool, was designed by Domenico Paradisi (Italian, active 1689\u20131721) and manufactured at the San Michele workshop in Italy. MET, 92.1.15","width":4000,"height":2513},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3433.11","@type":"sc:Canvas","label":"The Shroud of Saint-Josse, Mus\u00e9e du Louvre","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3433.11","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2282%2F7dfa6b8b53ffed990c134e5f08645e7e.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2282%2F7dfa6b8b53ffed990c134e5f08645e7e.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1185,"height":723},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3433.11"}],"description":"The Shroud of Saint-Josse, now in the collections of the Mus\u00e9e du Louvre, is a silk samite saddle cloth that was woven in northeastern Iran for Abu Mansur Bakhtegin, some time before 961. \nWhen the precious textile was brought back from the First Crusade by \u00c9tienne de Blois it was dedicated as a votive gift at the Abbey of Saint-Josse, near Boulogne. In its new surroundings the 10th-century Islamic textile was was used to wrap the remains of Saint Josse, a 7th-century saint from Brittany, France.","width":1185,"height":723},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3434.12","@type":"sc:Canvas","label":"Melisende Psalter, c. 1131\u201343, Eastern Mediterranean, now part of the Collections of the British Library","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3434.12","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2283%2Fb9a8b84c03aa2dcdc35a07eb8999413d.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2283%2Fb9a8b84c03aa2dcdc35a07eb8999413d.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":2000,"height":1635},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3434.12"}],"description":"The most important patron of the arts in the Latin Kingdom of Jerusalem was the half-Armenian Queen Melisende. Melisende (1105\u2013c. 1160) and her husband, Fulk V of Anjou, became joint rulers of the Crusader Kingdom of Jerusalem in 1131. However within a year she and her husband were at war \u2013 which Melisende and her supporters won. Thereafter she became a great patron of the arts, founding an abbey at Bethany and commissioning this magnificent psalter. From details within the psalter we know its place of origin to be the Church of the Holy Sepulchre in Jerusalem, and we can also date it fairly accurately between 1131 and 1143.\nWhat is the importance of the Melisende Psalter in the history of the Crusader Kingdom of Jerusalem? Do the iconography and style of the Psalter look western?","width":2000,"height":1635},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3438.13","@type":"sc:Canvas","label":"Saladin, TV series, Malaysia","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3438.13","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2287%2F1e100f35a7a93ad6aa52c0c5815f8ae3.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2287%2F1e100f35a7a93ad6aa52c0c5815f8ae3.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1600,"height":1200},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3438.13"}],"description":"Saladin (Arabic: \u0635\u0644\u0627\u062d \u0627\u0644\u062f\u064a\u0646 \u1e62al\u0101\u1e25 ad-D\u012bn) is an animated television series inspired by the life of Salah Al-Din Yusuf Ibni Ayub, the Islamic hero who united Muslims in their fight against the Crusaders in the 12th century. The series depicts adventures during a fictional time in Saladin's life as a young man.\nThe series was conceived and produced by the Multimedia Development Corporation in Malaysia.","width":1600,"height":1200},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3439.14","@type":"sc:Canvas","label":"alexander-nevsky-movie-poster","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3439.14","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2288%2F6c4e3eb91d1c0cb0f459b5012519f568.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2288%2F6c4e3eb91d1c0cb0f459b5012519f568.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":580,"height":715},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3439.14"}],"description":"The film, released in 1938, retells the story of the fight between the Teutonic Order and the people of Novgorod led by 20-year old Prince Alexander Nevsky in 1242. The event was directed by Sergei Eisenstein. The music score was written by Sergei Prokoviev. \nThe film became an instant box office success.","width":580,"height":715},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3431.15","@type":"sc:Canvas","label":"The Crown of Thorns carried by Archbishop Michel Aupetit of Paris, April 2020","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3431.15","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2280%2F122a1614fc408a59c7f264f0e9bac776.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2280%2F122a1614fc408a59c7f264f0e9bac776.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":862,"height":485},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3431.15"}],"description":"Nearly one year after a fire ravaged the famed Notre Dame Cathedral in Paris, the city\u2019s archbishop briefly returned to the cathedral its most prized relic, the Crown of Thorns, on Good Friday, the day in which Catholics commemorate Jesus\u2019s suffering and death.\n\nWhat is the connection between the Crown of Thorns, the relics of the Passion, Notre Dame, Sainte Chapelle, and King Louis IX of France?","width":862,"height":485},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3418.16","@type":"sc:Canvas","label":"The fortified city of Mystras, Peloponnese, Greece, 13th century","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3418.16","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2270%2F9e1eb1acff81b2351ca8bbc1ba2ffc5e.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2270%2F9e1eb1acff81b2351ca8bbc1ba2ffc5e.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":644,"height":1024},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3418.16"}],"description":"Mystras was a major late medieval fortified city in the Peloponnese, Greece, founded in the 13th century. The site became the seat of the Latin Principality of Achaea following the fall of Constantinople to the Crusaders in 1204. In 1259, the city's Latin Lord, William II Villehardhouin, was captured on the battlefield of Pelagonia by the Byzantine Emperor Michael VIII Palaiologos, who set him free in exchange for the castles of Monemvasia and Mystras. Palaces, churches with magnificent frescoes, and private houses, reflect power, wealth, and artistic exchange between Byzantine East and Latin West.","metadata":[{"label":"1252","value":""},{"label":"Mint of Acre","value":""},{"label":"SIlver dirham","value":""},{"label":"BN","value":""},{"label":"BN","value":""},{"label":"BN","value":""},{"label":"Dimensions","value":""}],"width":644,"height":1024},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3440.17","@type":"sc:Canvas","label":"The Freer Canteen, 13th century","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3440.17","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2289%2Fcb3314b6b64cd0440f2bcd1366a62c52.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2289%2Fcb3314b6b64cd0440f2bcd1366a62c52.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":5250,"height":4896},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3440.17"}],"description":"This large, impressive canteen, the only known example of its kind from the Islamic world, was created in Mosul (now in Iraq) in the mid-13th century during the Ayyubid period. The canteen recalls the shape of ceramic pilgrim flasks. Its inlaid silver decoration combines calligraphy and decorative motifs, such as intricate geometric designs, and lively animal scrolls, with Christian imagery. These include a representation of the Virgin and Child in the center, surrounded by narrative scenes from the life of Christ as well as saints and knights.\n\nWhat kind of encounters does this canteen evoke?","width":5250,"height":4896},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3432.18","@type":"sc:Canvas","label":"13th-century amphora\u00a0with confronted hybrid figures from Al-Mina, Dumbarton Oaks Research Library and Collection","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3432.18","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2281%2F0dda7793e73052f42a2c4d2311f843a7.jpg/full/full/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2281%2F0dda7793e73052f42a2c4d2311f843a7.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":236,"height":352},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3432.18"}],"description":"The amphora was made in Port Saint Symeon, in the Frankish principality of Antioch, shortly before the sack of the city by the Mamluks in 1268.\u00a0It features incised decoration, highlighted with malachite green and manganese brown. On the body of this piece, the artist has depicted hybrid creatures with leopards\u2019 bodies, human heads and crescent-shaped wings. This is an example of the sphinx iconography that may be found on numerous Islamic ceramic pieces. Bur\u0101q, the mythical animal that served as the Prophet Muhammad\u2019s mount during his night journey (the Mi\u02bfr\u0101j), heraldic, royal and astrological representations are also part of the iconographical repertoire of amphorae from Al-Mina.","metadata":[{"label":"13th century","value":""},{"label":"Pottery","value":""},{"label":"Format","value":""},{"label":"Source","value":""},{"label":"Dumbarton Oaks Research Library and Collection","value":""},{"label":"Creator","value":""},{"label":"Dimensions","value":""}],"width":236,"height":352},{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3443.19","@type":"sc:Canvas","label":"Model of the Holy Sepulcher, 17th or 18th century, Probably Jerusalem, possibly Bethlehem","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3443.19","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2292%2F5fba2d81ca1458bde18bcb5e4b067cbd.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2292%2F5fba2d81ca1458bde18bcb5e4b067cbd.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1600,"height":1200},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3443.19"}],"description":"A scale model of the Church of the Holy Sepulcher in Jerusalem. The model consists of 16 separate pieces that can be disassembled.\nOlive wood inlaid with mother-of-pearl and bone.\n\nStill standing in Jerusalem, the Church of the Holy Sepulcher enshrines the reputed sites of Jesus\u2019s crucifixion, entombment, and resurrection. In the 17th century, Middle Eastern craftsmen\u2014working in Franciscan monasteries in the Holy Land\u2014produced wooden models of the church, as gifts for European rulers and as prized souvenirs for wealthy pilgrims to this holiest site in Christendom.\nMuseum of Fine Arts, Boston, 2016.91","width":1600,"height":1200}]}]} IIIF Type Manifest UUID e3d3cbd0-41a5-414b-8284-cdc325be5751 Dublin Core 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/. Title A name given to the resource Model of the Holy Sepulcher, 17th or 18th century, Probably Jerusalem, possibly Bethlehem Source A related resource from which the described resource is derived https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370 Description An account of the resource A scale model of the Church of the Holy Sepulcher in Jerusalem. The model consists of 16 separate pieces that can be disassembled. Olive wood inlaid with mother-of-pearl and bone. Still standing in Jerusalem, the Church of the Holy Sepulcher enshrines the reputed sites of Jesus’s crucifixion, entombment, and resurrection. In the 17th century, Middle Eastern craftsmen—working in Franciscan monasteries in the Holy Land—produced wooden models of the church, as gifts for European rulers and as prized souvenirs for wealthy pilgrims to this holiest site in Christendom. Museum of Fine Arts, Boston, 2016.91 IIIF Item Metadata Original @id https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3443.19 JSON Data {"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3443.19","@type":"sc:Canvas","label":"Model of the Holy Sepulcher, 17th or 18th century, Probably Jerusalem, possibly Bethlehem","images":[{"@id":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/annotation/3443.19","@type":"oa:Annotation","motivation":"sc:painting","resource":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2292%2F5fba2d81ca1458bde18bcb5e4b067cbd.jpg/full/1024,/0/default.jpg","@type":"dctypes:Image","service":{"@id":"https://loris.tlt.harvard.edu/loris/atg-media-management-api-prod%2Fprod%2Fimages%2F2292%2F5fba2d81ca1458bde18bcb5e4b067cbd.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level1.json"},"format":"image/jpeg","width":1600,"height":1200},"on":"https://media-management-api.tlt.harvard.edu/api/iiif/manifest/370/canvas/3443.19"}],"description":"A scale model of the Church of the Holy Sepulcher in Jerusalem. The model consists of 16 separate pieces that can be disassembled.\nOlive wood inlaid with mother-of-pearl and bone.\n\nStill standing in Jerusalem, the Church of the Holy Sepulcher enshrines the reputed sites of Jesus\u2019s crucifixion, entombment, and resurrection. In the 17th century, Middle Eastern craftsmen\u2014working in Franciscan monasteries in the Holy Land\u2014produced wooden models of the church, as gifts for European rulers and as prized souvenirs for wealthy pilgrims to this holiest site in Christendom.\nMuseum of Fine Arts, Boston, 2016.91","width":1600,"height":1200} Display as IIIF? Yes UUID 05194c3f-5895-4b52-93c0-25d2dee87092 https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/228ce19bdf15cb041d8238aeb25832e5.png 839bbea84c8fbb7eab7cfbb349f8d7ce Dublin Core 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/. Title A name given to the resource Late Antiquity, Seminar 4 IIIF Collection Metadata UUID d99c41a6-1cd6-469b-ac81-f0f952ce8594 Still Image 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. Dublin Core 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/. Title A name given to the resource Modern rendering of the fragments of the chalice Description An account of the resource This is a fragment from a chalice found from excavations at a 6th Century church near Vindolanda, a Roman Fort close to Hadrian’s wall. The chalice itself dates to around the 5th century. The fragment is covered in graffiti, which has a negative connotation today, but was a wide practice. Some of the symbols include crosses, fish, and chi-ros. Since it was buried below the church, it remained protected for many years. The symbols provide evidence of how early Christian worship continued in Britain even after the fall of the Roman Empire. IIIF Item Metadata UUID 92394200-5bde-428c-85e8-dee11a0825a5 https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/cccb8eaf90e680eb915f38bae1d04edc.jpg 43e710e58a9e34cc8548faaa9c8864c2 Dublin Core 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/. Title A name given to the resource Money Matters, Tuesday 4/6 IIIF Collection Metadata UUID d60b8706-a594-4e63-9f2f-05ed01406d75 Dublin Core 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/. Title A name given to the resource Molded brick made of tea. Decorated with human figures going about various activities, most likely depicting the process of production and the movement of tea-bricks. China Subject The topic of the resource moulded tea leaf, British Museum Description An account of the resource The register states: "Presented by the late Emperor of China" (to Captain Warre ?). IIIF Item Metadata UUID 54f9532c-3525-42a2-b8b9-02d2a7a6a99c https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/cb39a9e34657dc084fb735b09954757f.jpeg c72b458e6a67c99a30df893840f086ca Dublin Core 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/. Title A name given to the resource Money Matters, Week 1 Creator An entity primarily responsible for making the resource Eurydice Georganteli Publisher An entity responsible for making the resource available Eurydice Georganteli Contributor An entity responsible for making contributions to the resource Eurydice Georganteli Subject The topic of the resource Money, money, money IIIF Collection Metadata UUID 9a182f00-3950-4c51-8da3-15154a9a60c3 Dublin Core 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/. Title A name given to the resource Money Lender Subject The topic of the resource Dwight C. Sturges, American (Charlestown, Mass. 1874 - 1940 Boston, Mass.), Money Lender Description An account of the resource Print, American, 1938 Creator An entity primarily responsible for making the resource Dwight C. Sturges, American (Charlestown, Mass. 1874 - 1940 Boston, Mass.) Publisher An entity responsible for making the resource available Harvard Art Museums, Modern and Contemporary Art Date A point or period of time associated with an event in the lifecycle of the resource Harvard Art Museums/Fogg Museum, Gift of Mrs. William Simes, 1938 Type The nature or genre of the resource Print, Etching Identifier An unambiguous reference to the resource within a given context Harvard Art Museums, M9495 IIIF Item Metadata UUID 5c6bf055-1c64-4205-81ed-3ecafa971794 https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/642c4bfb5ca6bcafc392abc33eb21101.png 2f12e3e8de12a30aef54a8b82d324c3f Dublin Core 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/. Title A name given to the resource Money Matters, Tuesday 4/6 IIIF Collection Metadata UUID d60b8706-a594-4e63-9f2f-05ed01406d75 Dublin Core 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/. Title A name given to the resource Money Map of Africa: inkjet print on enhanced paper from original collage Subject The topic of the resource Justine Smith, 2007, London, paper, 1010x1190 mm, British Museum Description An account of the resource The “Money Map of Africa” compounds many of Smith’s ideas relating to money. The images and cultural symbols on the banknotes are significant and can give an indication of the economy of a given country. First world countries may show inventors, great architects, defining achievements, artists and historical figures, whereas a poorer economy may show its natural assets such as local flora and fauna, agricultural and local industries – Madagascar for example shows boats and fishermen, and The Congo shows tribal costumes and artefacts. Religious symbols may feature such as saints, holy buildings, religious leaders, whilst spiritual and cultural alliances can be seen as groups of countries appear to merge due to the similarity of Islamic design on the banknotes. One can also see economic alliances such as the West and Central African states, which share common currencies between a group of nations. Similarly, one can also see traces of old empires - some country’s borders are naturally formed by rivers or mountains, but other country’s borders are man-made – to an extent divided by money. Some states are literally drawn with a ruler and pencil, evidence of it being divided up as a consequence of its colonial past. There are of course geological maps, but this map is a political map showing political boundaries of each state. Over time, this map will date as new alliances are formed, or wars annex one country onto another, or there is a regime change and a new currency is issued. All the notes on this map are current issue. Creator An entity primarily responsible for making the resource Justine Smith IIIF Item Metadata UUID 509ea513-1ed3-4054-aeb8-2c626a2ae347 https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/e35d1ee0c701e7f19bb6e700b1b648ef.jpg dbb807dc968db08d727fd63a39eb1288 Dublin Core 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/. Title A name given to the resource Late Antiquity 4/12 IIIF Collection Metadata UUID b07ae80a-b5c7-48fb-815b-2879976840e8 Dublin Core 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/. Title A name given to the resource Morgan Beatus fol. 112 Subject The topic of the resource The opening of the Sixth Seal New York, Pierpont Morgan Library, MS 664 10th century illuminated manuscript with miniatures by Magius, text is the 8th century Commentary on the Book of the Apocalypse by Beatus, a Spanish monk; in Latin, Mozarabic Spanish IIIF Item Metadata UUID 9dff2c05-8bde-4dcf-9aae-2760c309f145 https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/654f849897cdb073f80b8b8ee81ca6ab.png dbddd71a4a101aa8017896d0b4d2172a Dublin Core 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/. Title A name given to the resource Late Antiquity, Seminar 4 IIIF Collection Metadata UUID d99c41a6-1cd6-469b-ac81-f0f952ce8594 Still Image 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. Dublin Core 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/. Title A name given to the resource Mosaic from San Giovanni Evangelista, Ravenna Description An account of the resource A mosaic from San Giovanni Evangelista, Ravenna IIIF Item Metadata UUID fd3673e1-197b-4a53-bbbb-6b72451ceac8 https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/b737f7d3053e0770476f3e20a3eb7cc0.jpg 1e54125cda51559567f5d87923a7b0fd Dublin Core 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/. Title A name given to the resource Late Antiquity Sardis IIIF Collection Metadata UUID 0f176d88-1d25-42de-9209-46c7e540914b Dublin Core 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/. Title A name given to the resource Mosaic Inscription in square frame (from Synagogue, Main Hall, Bay 4): Votive (Building/renovation?) Inscription by Samoes, priest Subject The topic of the resource Mosaic inscription in square frame, Sardis, mosaic, 0.9 x 0.9 m Description An account of the resource DESCRIPTION Mosaic inscription in a square frame. INSCRIPTION TYPE Religious Inscription INSCRIPTION LANGUAGE Greek INSCRIPTION TEXT Εὐχὴ [Σ]α̣μοῆ ἱε- [ρ]έω̣ς κὲ σο- 4 φοδιδασ- κάλου. INSCRIPTION TRANSLATION “Vow of Samoés, Priest and Teacher of wisdom” (Kroll, who has “of Samoé”). COMMENTS 2 Σαμοῆ seems to be the genitive of Σαμο(υ)ῆς, a by-form of Σαμουῆλ (Ameling; see also Kroll’s commentary). 2–3 ἱε/[ρ]έω̣ς: my reading from the photograph; ἱε/ρέος, edd. The dedicant was “a descendant of the priesthood that anciently served in the Temple of Jerusalem”; they “were accorded the privileges of pronouncing certain benedictions during services and as preferred readers of the Torah” (Kroll; see Ameling, pp. 158–59). 3–5 σοφοδιδάσκαλος is a hapax legomenon: probably virtually identical with the known function of a νομοδιδάσκαλος (Ameling). The mosaic bearing the inscription was a “late intrusion into the surrounding mosaic,” and it is generally assumed that the vow was “connected with the construction that was supported on the four stone bases that were set into the floor around the inscription” (Kroll). See Kroll’s and Ameling’s commentaries with further references. IIIF Item Metadata UUID 20b188c4-9c1a-40e0-b9af-446162204a97