{"@context":"http://www.shared-canvas.org/ns/context.json","@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/collections/19/manifest.json","@type":"sc:Manifest","label":"Late Antiquity, Seminar 1","sequences":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/collections/19/sequence.json","@type":"sc:Sequence","label":"","canvases":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/279/canvas.json","label":"Empress Bust Weight","@type":"sc:Canvas","width":1516,"height":2400,"images":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/22/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/2921c3e0d69ab66039b911f8d27d5965.jpg","@type":"dctypes:Image","format":"image/jpeg","width":1516,"height":2400,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/2921c3e0d69ab66039b911f8d27d5965.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/279/canvas.json"},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/23/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/bf9fa8ef91f06829e1c6c9340a59a163.jpg","@type":"dctypes:Image","format":"image/jpeg","width":1010,"height":1024,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/bf9fa8ef91f06829e1c6c9340a59a163.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/279/canvas.json"}],"description":"Museum wall text: “Steelyards were used to weigh commodities in the ancient marketplace. The beam, with units of measurement inscribed on three faces, is calibrated for three different scales: one weighed objects up to 13 pounds, another up to 34, and the third up to 85 pounds. The steelyard would be suspended by the short hook (two of the original three remain) appropriate to the scale desired, with the commodity suspended from the hooks on the two long chains. The bust weight was moved along the bar until it balanced. The stylized image, with a simple diadem to indicate rank, does not depict a particular empress. Bust weights often represented gods, heroes, and emperors or empresses. Such imagery evoked imperial authority over weights and measures, guaranteeing fair transactions with a scale calibrated to official standards. The empress’s gestures (holding her cloak and grasping a scroll) indicate her erudition and imperial wisdom.”","license":"Harvard Art Museums 2007.104.3.A-C","metadata":[{"label":"Subject","value":"Empress Bust Weight, Steelyard, and Collar with Chains, 5th-7th century, Byzantine, Mixed copper alloy; lead and iron fill in bust, weight: 13.6 x 6 x 4.7 cm (1441 g.); chains and hooks: 44 x 5.7 cm; crossbeam with hooks: 39.2 x 1 cm, Cambridge, MA, Harvard Art Museums. "},{"label":"Source","value":"https://hvrd.art/o/320164"}],"otherContent":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/279/annolist.json","@type":"sc:AnnotationList"}]},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/280/canvas.json","label":"Fragment of a Marble Tomb Relief with Christ Giving the Law","@type":"sc:Canvas","width":3871,"height":1447,"images":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/24/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/eb128a0a7887f94506b111b43ad989c1.jpg","@type":"dctypes:Image","format":"image/jpeg","width":3871,"height":1447,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/eb128a0a7887f94506b111b43ad989c1.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/280/canvas.json"}],"description":"Museum wall text: “The authority of the Christian church grew rapidly with emperor Constantine's recognition of the faith as a legal religion within the Roman Empire in 313. Increasingly the most powerful centers of the church were the old imperial capital, Rome; the new imperial capital, Constantinople, the New Rome; Alexandria; Jerusalem/Caesarea; and Antioch. During the late fourth century, the church in Rome developed images stressing the importance of Saint Peter to whom Christ had given the keys to the kingdom (Matt. 16: 18-20). Traditionally considered the first bishop of Rome, Saint Peter was martyred and buried in the city. These Roman images would spread widely among peoples throughout western Europe as they accepted the authority of the church of Rome. \r\n\r\nOne of these images, the traditio legis, Christ Giving the Law to Saint Peter, shows Christ offering an unfurled scroll containing the law to Saint Peter in recognition of his role as the leader of the church. To the left of Christ stands Saint Paul, also martyred in Rome, acknowledging the authority conferred on Peter. Four other apostles survive on this relief. The scene is placed within a traditional Roman sarcophagus form, a series of niches framed by columns decorated with putti in vine scrolls.”","attribution":"https://www.metmuseum.org/art/collection/search/468269","metadata":[{"label":"Subject","value":"Fragment of a Marble Tomb Relief with Christ Giving the Law, Late 300s, Byzantine, Marble, 49.5 x 134 x 15.2 cm, New York City, The Metropolitan Museum of Art. "},{"label":"Source","value":"The Metropolitan Museum of Art. 48.76.2"}],"otherContent":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/280/annolist.json","@type":"sc:AnnotationList"}]},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/281/canvas.json","label":"Laocoön and His Sons, Vatican Vergil","@type":"sc:Canvas","width":4519,"height":5293,"images":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/25/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/36b6c7a71021cbd1cabb64b217e55ca2.jpg","@type":"dctypes:Image","format":"image/jpeg","width":4519,"height":5293,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/36b6c7a71021cbd1cabb64b217e55ca2.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/281/canvas.json"}],"description":"The Vatican Vergil, which contains fragments of Vergil’s Aeneid and Georgics, is one of three surviving illustrated manuscripts of classical literature along with the Vergilius Romanus and the Ambrosian Iliad. Today, the Vatican Vergil consists of 76 leaves with 50 illustrations, but could have originally had about 440 leaves and 280 illustrations. Scholars have identified three different painters, whose artistic quirks and styles are evident throughout their respective work throughout the codex. Conversely, it is thought that almost all of the text (written in capitals with no spaces between words), was written by a single scribe.\r\nText (Aeneid, Book II, lines 191-198):\r\n“…[(quod di prius omen in ipsum]\r\nconvertant!) Priami imperio Phrygibusque futurum;\r\nsin manibus vestris vestram ascendisset in urbem,\r\nultro Asiam magno Pelopea ad moenia bello\r\nventuram, et nostros ea fata manere nepotes.' \r\nTalibus insidiis periurique arte Sinonis              \r\ncredita res, captique dolis lacrimisque coactis\r\nquos neque Tydides nec Larisaeus Achilles,\r\nnon anni domuere decem, non mille carinae.\"\r\n\r\n“…[(may the gods first turn that prediction on]\r\nthemselves!) would come to Priam and the Trojans: \r\nyet if it ascended into your citadel, dragged by your hands, Asia would come to the very walls of Pelops, in mighty war, and a like fate would await our children. Through these tricks and the skill of perjured Sinon, the thing was credited, and we were trapped, by his wiliness, and false tears, we, who were not conquered by Diomede, or Larissan Achilles, nor by the ten years of war, nor those thousand ships.  \r\n-Trans. A. S. Kline","metadata":[{"label":"Subject","value":"Fol. 18v, MSCod. Vat. Lat. 3225, “The Death of Laocoön” from the Vatican Vergil (Vergilius Vaticanus), c. 400 CE, Roman, Vatican, Biblioteca Apostolica."},{"label":"Source","value":"https://digi.vatlib.it/view/MSS_Vat.lat.3225"}],"otherContent":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/281/annolist.json","@type":"sc:AnnotationList"}]},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/282/canvas.json","label":"Seuso Platter","@type":"sc:Canvas","width":1386,"height":1380,"images":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/26/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/16b0eac1d8f90a0b67eed6de0ebfead0.png","@type":"dctypes:Image","format":"image/png","width":1386,"height":1380,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/16b0eac1d8f90a0b67eed6de0ebfead0.png","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/282/canvas.json"},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/27/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/f24c5c9d976c6d8ba92c68a1533540ac.jpg","@type":"dctypes:Image","format":"image/jpeg","width":0,"height":0,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/f24c5c9d976c6d8ba92c68a1533540ac.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/282/canvas.json"},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/28/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/80441d1f3854c77bd16ecf2f3031f390.png","@type":"dctypes:Image","format":"image/png","width":325,"height":197,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/80441d1f3854c77bd16ecf2f3031f390.png","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/282/canvas.json"}],"description":"The Seuso Platter is one of the 14 silver objects that make up the Seuso Treasure. This hoard of late Roman silver was at the center of decades worth of debate in the international art market, stemming from falsified documentation with regards to the find site (originally claimed to be Lebanon). A 1990 sale at Sotheby's in New York was stopped after claims to ownership were made by the governments of Hungary, Yugoslavia (Croatia), and Lebanon. Although the exact provenance has not been publicly acknowledged, most evidence supports the belief that the hoard was found by a Hungarian soldier in the 1970s during an illegal treasure hunting dig at a preexisting archeological site. He was subsequently murdered. In 2014, seven of the objects were bought by the government of Hungary, with the remaining seven being purchased in June of 2017 for €28 million. \r\n\r\nThe name of the treasure derives from the inscription on the Seuso Platter, which reads (in Latin):\r\n\r\n“Hec Seuso tibi durent per saecula multa Posteris ut prosint vascula digna tuis.”\r\n\r\n“May these, O Seuso, yours for many ages be Small vessels fit to serve your offspring worthily.”","attribution":"https://seuso.mnm.hu/en#&chrp=13&sobj=0","metadata":[{"label":"Subject","value":"Seuso Platter, late 4th-early 5th century, Late Roman, diam: 70.5 cm, 8.873 kg, Budapest, Museum of Fine Arts."},{"label":"Source","value":"Szépművészeti Múzeum"}],"otherContent":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/282/annolist.json","@type":"sc:AnnotationList"}]},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/283/canvas.json","label":"Gold Glass Medallion with a Mother and Child","@type":"sc:Canvas","width":1920,"height":2334,"images":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/29/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/065a06ee1272271c3f2b857a6d5de79a.jpg","@type":"dctypes:Image","format":"image/jpeg","width":1920,"height":2334,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/065a06ee1272271c3f2b857a6d5de79a.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/283/canvas.json"}],"description":"Museum Description: \"The mother, a fashionably coiffed matron, is shown with her son. He wears a large gold pectoral, or neck ring. Medallions like this one, meant to be worn as jewelry, are closely associated with Alexandria.”","attribution":"The Metropolitan Museum of Art. 17.190.109a","metadata":[{"label":"Subject","value":"Gold Glass Medallion with a Mother and Child, early 4th century, Roman, probably Alexandria, Egypt, shown 18th (?) century frame, glass and gold leaf, 4.8 x 0.5 cm, New York City, The Metropolitan Museum of Art. "},{"label":"Source","value":"https://www.metmuseum.org/art/collection/search/463989"}],"otherContent":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/283/annolist.json","@type":"sc:AnnotationList"}]},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/284/canvas.json","label":"Colossus of Constantine","@type":"sc:Canvas","width":5510,"height":3264,"images":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/30/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/c0ce305ef5d819da847db052f5779c62.jpg","@type":"dctypes:Image","format":"image/jpeg","width":2448,"height":3264,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/c0ce305ef5d819da847db052f5779c62.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/284/canvas.json"},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/31/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/f21c296854bccd223e401ff7199d67ce.jpg","@type":"dctypes:Image","format":"image/jpeg","width":5510,"height":2100,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/f21c296854bccd223e401ff7199d67ce.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/284/canvas.json"}],"description":"The colossal statue of Roman Emperor Constantine the Great (r. July 25, 306 – May 22, 337) originally stood in the western apse of the Basilica of Maxentius in Rome. Fragments can now be found in the courtyard of the Palazzo dei Conservatori of the Musei Capitolini. Based on the scale of the surviving pieces (in marble) the full-sized figure, which was seated and enthroned, would have been about 12 meters (40 feet) tall. The head is about 2.5 meters tall. Curiously, there are two right hands, both with pointed index fingers although with other slight differences, which suggests that the hand was replaced and reworked at some point during Late Antiquity, perhaps as required by a desire to substitute a scepter with a Christian attribute.\r\nThe marble fragments of the statue (head, arms, and legs, the rest was a wooden frame over a brick core, possibly gilded) were rediscovered in 1486. ","metadata":[{"label":"Subject","value":"Fragments of the Colossus of Constantine, c. 312-15, Roman, marble, brick, wood, and gilded bronze, Rome, Musei Capitolini. "},{"label":"Source","value":"https://www.arctron.de/referenzen/2006/kaiser-konstantin/ \r\n(in German)\r\n"}],"otherContent":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/284/annolist.json","@type":"sc:AnnotationList"}]},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/285/canvas.json","label":"Fragment of Lamp: Dove carrying a Branch","@type":"sc:Canvas","width":1024,"height":658,"images":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/32/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/e52da81e8e0a963129655c28e9c77f75.jpg","@type":"dctypes:Image","format":"image/jpeg","width":1024,"height":658,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/e52da81e8e0a963129655c28e9c77f75.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/285/canvas.json"}],"attribution":"Harvard Art Museums. 1978.495.193","metadata":[{"label":"Subject","value":"Fragment of Lamp: Dove carrying a Branch, c. 400-500 CE, Late Roman, Tunis, mold-made terracotta, 8 x 11cm., Cambridge, MA, Harvard Art Museums. "},{"label":"Source","value":"https://hvrd.art/o/146516"}],"otherContent":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/285/annolist.json","@type":"sc:AnnotationList"}]},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/286/canvas.json","label":"Mummy Portrait of a Man","@type":"sc:Canvas","width":812,"height":1000,"images":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/33/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/bed6a31fbefedb261b4ef84e3f2b347f.jpg","@type":"dctypes:Image","format":"image/jpeg","width":812,"height":1000,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/bed6a31fbefedb261b4ef84e3f2b347f.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/286/canvas.json"}],"description":"Museum Description: “Portrait, perhaps of a priest, in encaustic on limewood: the panel is cracked through the right side from the upper edge to the subject's proper left ear. A row of four nail holes indicative of reuse, or perhaps of attachment to a frame, runs across the panel 6.3 cm below the upper edge, and a row of three holes 9-9.5 cm above the lower edge. The background is a greenish cream.\r\n\r\nThe subject, a man of mature years, wears a creamy-white tunic with violet/pink clavus on the proper right shoulder. A mantle with brownish folds with cream highlights is worn over the proper left shoulder and around the back of the neck, but does not appear on the other side. The upper edge of the tunic and the central fold below the neck is rather clumsily drawn with a thick cream line. A shoulder seam appears as diagonal hatching across the clavus, lined up with the corner of the neck of the tunic.\r\n\r\nIn his hair the subject wears a narrow fillet, with a central gold star with seven points laid on a purple ground. The rest of the fillet is grey with cream highlights, perhaps representing an original in silver.\r\n\r\nBelow the fillet the dark brown hair falls in three locks on the brow in an arrangement typical of individuals associated with the cult of Sarapis. The hair is curly and even, the outer strands are tidily arranged. The beard and moustache are straight. The flesh is sunburned, with pink and cream highlights. The close-set, light brown eyes stare at the viewer; the impression of a severe intensity is heightened by the narrow down-turned mouth. The arched eyebrows are rendered with diagonal strokes.”","attribution":"The British Museum. EA74714 .","metadata":[{"label":"Subject","value":"Mummy Portrait of a Man, c. 140-60 CE, Roman, Fayum: Hawara, wax on lime wood, 42.5 x 22.2 x 0.4 cm, London, The British Museum. "},{"label":"Source","value":"https://www.britishmuseum.org/collection/object/Y_EA74714 "}],"otherContent":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/286/annolist.json","@type":"sc:AnnotationList"}]},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/287/canvas.json","label":"Icon of Christ and Abbot Mena","@type":"sc:Canvas","width":2480,"height":2636,"images":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/34/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/a8a469e96178fbffef9becaa4caab6db.jpg","@type":"dctypes:Image","format":"image/jpeg","width":2480,"height":2636,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/a8a469e96178fbffef9becaa4caab6db.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/287/canvas.json"}],"description":"Museum information: “This exceptional painting on wood comes from the monastery of Bawit in Middle Egypt. Dated to the 8th century, it represents Christ (easily recognizable by his halo with a cross) and Abbot Mena, the superior of the monastery at the time. The abbot holds a scroll in his left hand; this may have contained the rules of his monastery.”\r\n\r\nText (in translation): \r\nAt left, beside Abbot Mena: “\"Apa Mena superior”\r\nAt right, beside Christ: “Savior”\r\n","attribution":"Musée du Louvre. E 11565","metadata":[{"label":"Subject","value":"Icon of Christ and Abbot Mena, 8th century, Coptic, Bawit (Egypt), paint on sycamore fig wood, 57 x 57 cm, Paris, The Louvre. "},{"label":"Source","value":"https://www.louvre.fr/en/oeuvre-notices/christ-and-abbot-mena"}],"otherContent":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/287/annolist.json","@type":"sc:AnnotationList"}]},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/288/canvas.json","label":"The Fountain of the Aqua Julia","@type":"sc:Canvas","width":1024,"height":697,"images":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/35/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/34587d8474c62c447326bd31173364f3.jpg","@type":"dctypes:Image","format":"image/jpeg","width":1024,"height":697,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/34587d8474c62c447326bd31173364f3.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/288/canvas.json"}],"attribution":"Harvard Art Museums. 2008.312.34","metadata":[{"label":"Subject","value":"Giovanni Battista Piranesi, The Fountain of the Aqua Julia (Fontana dell’Acqua Giulia) from Vedute di Roma, 18th century, Italian, print, image: 38.1 x 60 cm; plate: 40.1 x 60.7 cm; sheet: 54.2 x 79.1 cm; Cambridge, MA, Harvard Art Museums. "},{"label":"Source","value":"https://hvrd.art/o/237595"}],"otherContent":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/288/annolist.json","@type":"sc:AnnotationList"}]},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/289/canvas.json","label":"Four Panels from a Casket","@type":"sc:Canvas","width":1902,"height":1092,"images":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/36/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/5bce6edab7c707e2fbae4e70ae152270.jpg","@type":"dctypes:Image","format":"image/jpeg","width":1000,"height":798,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/5bce6edab7c707e2fbae4e70ae152270.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/289/canvas.json"},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/37/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/559a2d4aaec66e4104bf80d2c6d1026c.png","@type":"dctypes:Image","format":"image/png","width":1902,"height":1092,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/559a2d4aaec66e4104bf80d2c6d1026c.png","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/289/canvas.json"},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/38/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/416e4e7040da1bc9cf2777cfb02d9688.png","@type":"dctypes:Image","format":"image/png","width":1902,"height":1092,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/416e4e7040da1bc9cf2777cfb02d9688.png","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/289/canvas.json"},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/39/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/6049b6d21690cb42df9d678ad85e04ae.png","@type":"dctypes:Image","format":"image/png","width":1902,"height":1092,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/6049b6d21690cb42df9d678ad85e04ae.png","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/289/canvas.json"},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/40/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/606f3b6765f3bf2fc0a19798c142c954.png","@type":"dctypes:Image","format":"image/png","width":1902,"height":1092,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/606f3b6765f3bf2fc0a19798c142c954.png","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/289/canvas.json"}],"description":"The four panels depict episodes from Passion and Resurrection of Christ.\r\n\r\nTop left: (these vignettes are meant to be read separately) the Judgement and Denial of St. Peter, at left, Pontius Pilate is shown seated, washing his hands in a basin with an attendant pouring water. At middle, Christ carries his cross, compelled by a soldier. At right, St. Peter is seated, behind him, a rooster crows (for the Denial of Peter: the Gospel of Matthew 26:33-35, the Gospel of Mark 14:29-31, the Gospel of Luke 22:33-34 and the Gospel of John 18:15-27), and a female figure points in accusation. \r\n\r\nTop right: the Crucifixion with the death of Judas at left, below his feet is the purse of silver, which he received as payment for his betrayal. Christ is surrounded by his mother Mary and St. John to the left, and the solider Longinus to the right, who is piercing Christ’s side with a spear. \r\n\r\nBottom left: the Maries at the tomb. Christ’s Sepulchre is shown centrally with open doors, through which part of a carved sarcophagus can be seen. One door is decorated with the scene of the Raising of Lazarus and a seated depiction of the Virgin Mary. At left and right of the tomb are sleeping soldiers. \r\n\r\nBottom right: The Incredulity of Thomas (see: John 20:24–29). Christ, at center, is shown young and beardless, with a nimbus. At the right Thomas reaches his right index finger towards Christ’s wound. ","attribution":"The British Museum.\r\n1856,0623.4 \r\n1856,0623.5 \r\n1856,0623.6\r\n1856,0623.7","metadata":[{"label":"Subject","value":"Four Panels from a Casket, c. 420-30, Roman, Rome, ivory, 75 mm x 98 mm (single panel), London, The British Museum. "},{"label":"Source","value":"https://www.britishmuseum.org/collection/object/H_1856-0623-7"}],"otherContent":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/289/annolist.json","@type":"sc:AnnotationList"}]},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/290/canvas.json","label":"Circular Pendant with Double Solidus of Constantine I","@type":"sc:Canvas","width":2673,"height":1800,"images":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/41/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/0ebe137c6c9f3d5a106dd7250e65b478.JPG","@type":"dctypes:Image","format":"image/jpeg","width":1452,"height":1800,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/0ebe137c6c9f3d5a106dd7250e65b478.JPG","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/290/canvas.json"},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/42/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/7da4f4d34bf4646bf770c220918929bf.JPG","@type":"dctypes:Image","format":"image/jpeg","width":2637,"height":1800,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/7da4f4d34bf4646bf770c220918929bf.JPG","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/290/canvas.json"},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/43/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/a3bd5acb4a0dbe082b05027a429bf019.JPG","@type":"dctypes:Image","format":"image/jpeg","width":1191,"height":1800,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/a3bd5acb4a0dbe082b05027a429bf019.JPG","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/290/canvas.json"},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/44/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/1f6eaf873dd72a234efbb647f4cf6648.JPG","@type":"dctypes:Image","format":"image/jpeg","width":2673,"height":1800,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/1f6eaf873dd72a234efbb647f4cf6648.JPG","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/290/canvas.json"}],"description":"Museum Description: “The consummate skill used to create this pendant places it among the most highly accomplished examples of gold jewelry from the early Byzantine period. The elaborate frame around the imperial medallion combines two techniques: chisel cutting of sheet gold masterfully worked to create lacelike tendrils, scrolls, and geometric designs; and hollow, three-dimensional heads formed by working the gold from both the interior and the exterior. The contrast of flat, silhouette patterns and heads in the round produces a dynamic counterpoint rarely seen in jewelry of this period. \r\n\r\nThe medallion shows the emperor Constantine wearing a crown of rays—an attribute of Apollo—while his sons Crispus and Constantine II are in consular robes on the reverse, co-celebrating their third consulate in 324. A similarly designed, although hexagonal, pendant at Dumbarton Oaks contains a medallion celebrating the second consulate in 321 of these same imperial sons. In mint condition, these medallions were never put into circulation; they were framed so that both sides are visible, allowing all the imperial portraits to be seen. Despite their different shapes, the shared techniques, style, and decorative schemes confirm that these pendants were made as part of a set. Three additional pendants belong to this set judged by medallion type, techniques, designs, and superb execution: a circular pendant (Musée du Louvre, Paris); a hexagonal pendant (British Museum, London); and a slightly larger octagonal pendant (Cleveland Museum of Art). This latter pendant must have been the center piece of the most resplendent suite of gold jewelry to survive from early Byzantium. \r\n\r\nThe pendant and its companion pieces may have been an award from an emperor to an outstanding general or high ranking official, although their exact function is not certain. The key to interpreting their historical and political significance, including the identification and meaning of the busts, has yet to be discovered.” \r\n\r\n-S. Zwirn","attribution":"Dumbarton Oaks. BZ.1970.37.1&2","metadata":[{"label":"Subject","value":"Circular Pendant with Double Solidus of Constantine I, Medallion: 324, Pendant: c. 370-90, Early Byzantine, gold, 9.6 cm x 8.5 cm, Washington D.C., Dumbarton Oaks."},{"label":"Source","value":"http://museum.doaks.org/objects-1/info/27048"}],"otherContent":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/290/annolist.json","@type":"sc:AnnotationList"}]},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/291/canvas.json","label":"Hanging with Hestia Polyolbus","@type":"sc:Canvas","width":5000,"height":4335,"images":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/45/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/7ae9fa11fc8f349513ca70bd656bf163.jpg","@type":"dctypes:Image","format":"image/jpeg","width":5000,"height":4335,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/7ae9fa11fc8f349513ca70bd656bf163.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/291/canvas.json"}],"description":"Museum Description: \"This tapestry excited scholarly interest immediately after the Blisses acquired it in 1929. They lent it in 1931 to the first major exhibition of Byzantine art in Paris where, according to Royall Tyler, the French art historian Paul Alfassa “proclaimed that it beat all of the Gothic tapestries in the world into a cocked hat.” Within ten years it had been published as many times. \r\n\r\nHestia Polyolbos (Hestia, full of blessing) distributes blessings from her throne, assisted by six winged genii, each carrying a disc naming a blessing; euphrosyne (“mirth”), euochia ( “good cheer”), prokope (“prosperity”), ploutos ( “wealth”), eulogia (“blessing”), and arete (“virtue”). Two other regal figures frame the group, one labeled phos (“light”). \r\n\r\nHestia, the Greek noun for hearth, is also the name of the goddess of the household hearth. Our knowledge of her cult is vague, partly because she was venerated, not at a few localized shrines, but wherever fires were found. It may be for this reason that hymns give her a universal character as the center of the world and the house of the gods. Hestia’s removal from any narrative context, when combined with her frontal pose and the laudatory epithet Polyolbos, suggests that this image was a focus for worship, one that deviated from the Greek tradition of cult statues. A salient difference is that while worshipers can escape the gaze of a cult statue by moving, the flatness of a tapestry allows Hestia’s eyes to follow the devout anywhere they move. This potency of two-dimensional images to conjure up a commanding presence was exploited at this time, both by the last phases of traditional Olympian religion and by the contemporary early phase of Christianity.\"\r\n\r\nJ. Hanson\r\n","attribution":"Dumbarton Oaks. BZ.1929.1","metadata":[{"label":"Subject","value":"Hanging with Hestia Polyolbus, Early Byzantine, c. 6th century, 138 x 114.5 cm, wool, Washington D.C., Dumbarton Oaks. "},{"label":"Source","value":"http://museum.doaks.org/objects-1/info/27440"}],"otherContent":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/291/annolist.json","@type":"sc:AnnotationList"}]},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/292/canvas.json","label":"Madaba Map","@type":"sc:Canvas","width":2822,"height":1850,"images":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/46/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/e933e3d990702fa10006c44e039962ce.jpg","@type":"dctypes:Image","format":"image/jpeg","width":2822,"height":1850,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/e933e3d990702fa10006c44e039962ce.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/292/canvas.json"},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/47/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/7c3f2eb309841149e47637548ae6706a.jpg","@type":"dctypes:Image","format":"image/jpeg","width":1024,"height":718,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/7c3f2eb309841149e47637548ae6706a.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/292/canvas.json"},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/48/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/f4fa4852ea15aeb8a61be51c6d0485ec.jpg","@type":"dctypes:Image","format":"image/jpeg","width":600,"height":400,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/f4fa4852ea15aeb8a61be51c6d0485ec.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/292/canvas.json"}],"description":"The Madaba Map is a floor mosaic that contains the oldest surviving cartographic depiction of the Holy Land. It dates to the 6th century and is found at the Church of Saint George in Madaba, Jordan. The presence and absence of various monuments has aided in a more precise dating of the map, which included the New Church of the Theotokos in Jerusalem, dedicated on November 20, 542, but does not have any buildings that date to after 570. The city was conquered by the Sasanian Empire in 614, and largely destroyed by an earthquake in 746. The mosaic was not rediscovered until 1884 during the construction of a new church on the site. \r\n\r\nThe mosaic is located in the apse and originally measured 21 by 7 meters and contained over two million tesserae. In its modern form, it measures 16 x 5 meters. ","attribution":"Church of Saint George","metadata":[{"label":"Subject","value":"Madaba Map, Early Byzantine, late. 6th century, floor mosaic, Madaba, Jordan, Church of Saint George. "},{"label":"Source","value":"https://web.archive.org/web/20170603031628/http://www.christusrex.org/www1/ofm/fai/FAImadmn.html"}],"otherContent":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/292/annolist.json","@type":"sc:AnnotationList"}]},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/293/canvas.json","label":"Solidus of Justinian I","@type":"sc:Canvas","width":1024,"height":478,"images":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/49/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/8dde33b44bb213b0abfe63bb22cf522c.jpg","@type":"dctypes:Image","format":"image/jpeg","width":1024,"height":478,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/8dde33b44bb213b0abfe63bb22cf522c.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/293/canvas.json"}],"description":"Obverse Inscription: DNIVSTINI ANVSPP\r\n\r\nD(ominus) N(oster) Iustinianus P(er) P(etuus) AVG(ustus) (\"Our Lord Justinian, Eternal Emperor\"). \r\n\r\nA frontal bust portrait of the emperor wearing a helmet, diadem, and cuirass. In his hand is a globus cruciger. \r\n\r\n\r\nReverse Inscription: VICTORI AAVCCC, at end, theta. In ex., CONOB. \r\n\r\nVictoria Augustorum [officina] Θ (“Victory of the Augusti”)\r\nAn angel holds a cross and a globus cruciger. At right, a star. \r\n\r\nCONOB is the mint mark, indicating that it was struck at Constantinople. ","attribution":"Harvard Art Museums. 1951.31.4.312","metadata":[{"label":"Subject","value":"Solidus of Justinian I, Byzantine, Constantinople, c. 538-45, gold, 4.49 g, Cambridge, MA, Harvard Art Museums. "},{"label":"Source","value":"https://hvrd.art/o/145086"}],"otherContent":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/293/annolist.json","@type":"sc:AnnotationList"}]},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/294/canvas.json","label":"Pilgrim Flask with Scenes of St. Menas","@type":"sc:Canvas","width":806,"height":1024,"images":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/50/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/c3eabdf58996f599a4397f822fc4d4a0.jpg","@type":"dctypes:Image","format":"image/jpeg","width":806,"height":1024,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/c3eabdf58996f599a4397f822fc4d4a0.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/294/canvas.json"}],"description":"Museum Commentary: “Flasks bearing images of Saint Menas are not uncommon in Egypt. Menas was a Roman soldier who was martyred; veneration of him as a saint centered on an oasis near Alexandria. On better-preserved ampullae bearing the same scene, the details of Menas' clothing (tunic, boots, and cloak, perhaps in the style of the later Roman military) are much clearer; the border type varies between the dot/stud motif and chevrons. Some examples bear inscriptions or depictions of crosses above the saint's arms.”","attribution":"Harvard Art Museums. 1978.495.200","metadata":[{"label":"Subject","value":"Pilgrim Flask with Scenes of St. Menas, Byzantine, Egypt, 4th-7th century, mold-made terracotta, 8.5 x 6.8 x 2.3 cm, Cambridge, MA, Harvard Art Museums. "},{"label":"Source","value":"https://hvrd.art/o/77733"}],"otherContent":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/294/annolist.json","@type":"sc:AnnotationList"}]},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/295/canvas.json","label":"Court of Justinian at Ravenna","@type":"sc:Canvas","width":595,"height":438,"images":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/51/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/a5160daa4e2b0a38f8f5ecbc25882c37.jpg","@type":"dctypes:Image","format":"image/jpeg","width":400,"height":320,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/a5160daa4e2b0a38f8f5ecbc25882c37.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/295/canvas.json"},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/52/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/44e0d35f91a68194cba8df2908f68b8d.jpg","@type":"dctypes:Image","format":"image/jpeg","width":595,"height":438,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/44e0d35f91a68194cba8df2908f68b8d.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/295/canvas.json"}],"attribution":"Harvard Art Museums. 1934.210.41","metadata":[{"label":"Subject","value":"Lewis W. Rubenstein, Court of Justinian at Ravenna, American, 1931-2, watercolor and graphite on cream wove paper, 33 x 41.7 cm, Cambridge, MA, Harvard Art Museums. "},{"label":"Source","value":"https://hvrd.art/o/49068"}],"otherContent":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/295/annolist.json","@type":"sc:AnnotationList"}]},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/296/canvas.json","label":"Floor Mosaic depicting Female Musicians and Erotes within Vegetal Border","@type":"sc:Canvas","width":1678,"height":1180,"images":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/53/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/7bc6bf19042287b85d8e33d8b53487b6.jpg","@type":"dctypes:Image","format":"image/jpeg","width":1678,"height":1180,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/7bc6bf19042287b85d8e33d8b53487b6.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/296/canvas.json"}],"attribution":"Hama Museum","metadata":[{"label":"Subject","value":"Floor Mosaic depicting Female Musicians and Erotes within Vegetal Border, Byzantine, Maryamin, Syria, 6th century, Maryamin, Syria, Hama Museum. "},{"label":"Source","value":"https://www.ekathimerini.com/212420/article/ekathimerini/life/a-guardian-of-syrias-imperiled-cultural-heritage"}],"otherContent":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/296/annolist.json","@type":"sc:AnnotationList"}]},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/297/canvas.json","label":"Necklace with Pendant of Aphrodite Anadyomene","@type":"sc:Canvas","width":1431,"height":1800,"images":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/54/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/695fb6d08ae72b66a6a0578bbba358a5.jpg","@type":"dctypes:Image","format":"image/jpeg","width":1431,"height":1800,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/695fb6d08ae72b66a6a0578bbba358a5.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/297/canvas.json"},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/55/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/21b864e458be7e359fc36cff994f085d.JPG","@type":"dctypes:Image","format":"image/jpeg","width":1203,"height":1800,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/21b864e458be7e359fc36cff994f085d.JPG","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/297/canvas.json"}],"description":"Museum Description: \"Standing in a blue shell, Aphrodite Anadyomene wrings seawater from her hair. The pose was well known in antiquity, referring to the goddess’s birth from the sea, of which the deep blue color of the lapis lazuli is a visual metaphor. The harmony of references—pose, shell, deep blue color, and the sea pearls on the short chains—displays the jeweler’s ability to adapt a venerated mythological image to the luxury materials of elite taste during the early Byzantine period. \r\n\r\nThe delight and fascination with exquisitely crafted jewelry were undiminished at the end of late antiquity, and the appreciation of Greco-Roman mythology, even the most lascivious of all its goddesses, continued well after the Byzantine Empire had become an officially Christian society. Aphrodite’s fame as the goddess of beauty and physical desire are expressed by her seminudity and enhanced through the precious gold, lapis lazuli, and pearls of the necklace. Yet it might have been a magical property of the image that accounted for the figure’s allure. Amulets and charms, whether costly or cheap, had been worn for centuries as effective means of personal protection or for controlling the actions or emotions of other people. This elegant necklace may have been such an amulet (apotropaion), either against pervasive malevolent spirits or as a charm to grant an erotic wish.\"\r\n\r\n-S. Zwirn\r\n","attribution":"Dumbarton Oaks. BZ.1928.6","metadata":[{"label":"Subject","value":"Necklace with Pendant of Aphrodite Anadyomene, early Byzantine, early 7th century, gold and lapis lazuli, 43.2 x 20.3 x 1.9 cm, Washington D.C., Dumbarton Oaks. "},{"label":"Source","value":"http://museum.doaks.org/objects-1/info/27003"}],"otherContent":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/297/annolist.json","@type":"sc:AnnotationList"}]},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/298/canvas.json","label":"Medicine Box with Hygieia","@type":"sc:Canvas","width":2942,"height":1800,"images":[{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/56/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/a280db894edd74d6dcf9d0921f0c7ae2.JPG","@type":"dctypes:Image","format":"image/jpeg","width":2720,"height":1800,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/a280db894edd74d6dcf9d0921f0c7ae2.JPG","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/298/canvas.json"},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/57/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/13156f6de2cecb78e07de3cab1073739.jpg","@type":"dctypes:Image","format":"image/jpeg","width":2258,"height":1400,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/13156f6de2cecb78e07de3cab1073739.jpg","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/298/canvas.json"},{"@id":"https://haaimagehosting.omeka.fas.harvard.edu/oa/files/58/anno.json","motivation":"sc:painting","@type":"oa:Annotation","resource":{"@id":"https://s3.amazonaws.com/atg-prod-oaas-files/haaimagehosting/original/0d6a7af7c057aa4027d0f04f2d4f8865.JPG","@type":"dctypes:Image","format":"image/jpeg","width":2942,"height":1800,"service":{"@id":"https://iiif.omeka.fas.harvard.edu/loris/atg-prod-oaas-files/haaimagehosting/original/0d6a7af7c057aa4027d0f04f2d4f8865.JPG","@context":"http://iiif.io/api/image/2/context.json","profile":"http://iiif.io/api/image/2/level2.json"}},"on":"https://haaimagehosting.omeka.fas.harvard.edu/oa/items/298/canvas.json"}],"description":"Museum description: “Most ivory and bone containers are really wooden, covered with veneers of ivory. This craftsman chose the more extravagant option of carving the box with its six compartments out of a solid block of ivory, the rounded back following the contour of the outside of the tusk. The sliding lid with its figural relief is a separate piece. There are boxes of the same design and imagery in Switzerland (in the Cathedral Treasury at Chur and in the Church at Valeria) and a third on a larger scale with different imagery here at Dumbarton Oaks (accession no. BZ.1947.8). All of these have in common the distinctive scrolls at the top of the lid. They are all designed to accommodate locks (now missing), and most, like this one, have holes drilled into the top which may have been used to attach straps for carrying. The user apparently needed to ensure that the substances stored in the tiny compartments remained unmixed and safe. \r\n\r\nThe imagery on the lid, as on the lids on the examples in Switzerland, indicates what these substances may have been. The seated woman feeding a large snake out of a bowl in her left hand is Hygieia “Health”. She was one of the daughters, according to ancient Greek tradition, of Asklepios, the god of healing. The boxes, therefore, probably housed pharmaceuticals. Early Byzantine pharmacology relied on an elaborate classification of natural substances as warmer, cooler, dryer, or moister that had been codified by Galen in the 2nd century. Aetius of Amida, a sixth-century medical writer, catalogued 613 substances, mostly vegetable, but also animal and mineral; and described how their judicious combination would bring about cures. The use of Hygieia as the symbol of health is a long-lived vestige of an undying ancient mythology.”\r\n\r\n-J. Hanson","attribution":"Dumbarton Oaks. BZ.1948.15","metadata":[{"label":"Subject","value":"Medicine Box with Hygieia, early Byzantine, 6th century, ivory, 7.5 cm x 6 cm x 2.5 cm, Washington D.C., Dumbarton Oaks. 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