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Published Catalogue Text: Stone Sculptures: The Greek, Roman and Etruscan Collections of the Harvard University Art Museums , written 1990

42 Attic

Votive to a Hellenistic Ruler on Horseback: Demetrios Poliorketes

There is an irregular break at the right. The left edge seems slightly irregular also. The horse's head is abraded, and the forelegs are missing, as is the lower part of the right hind leg and the rider's right arm. Overall pitting, indicating extensive water damage. Area behind the rider is worn through.

He wears a tunic belted at the waist, an undergarment to the thighs above the knees, and a cloak pinned at the right shoulder, flying out behind. The fillet in his hair was perhaps once painted (?) and might suggest a ruler (?). There is a fillet molding below. The horse prances to the right, rearing back slightly on the hind legs and with tail flowing out and down toward the groundline of the molding below.

Comparison with the equestrian figures on the so-called Alexander sarcophagus, as well as details of the head of the Harvard relief, strengthen the suggestion that this is a commemorative representation of a Hellenistic ruler, one of the successors to Alexander the Great. Coins indicate he is Demetrios Poliorketes of Macedonia, Greece, and western Asia Minor (306 to 286/2 BC). The head can also be brought into comparison with the full-sized, free-standing head of a draped portrayal, seemingly of Demetrios I Poliorketes, in the Smith College Museum of Art, an ideal portrait perhaps copied from the equestrian statue discussed below (Hadzi, 1964, pp. 38-39, no.15) Many coins confirm the identification, showing that, as the young Macedonian king grew older, his nose became sharper and his jaw heavier. Some votive marbles traditionally do not have the details of physiognomy found on coins. The nose of the rider in the Forbes relief has lost its tip, as is so often the case with figures in Attic funerary and votive marbles, but the strong one to three o'clock angle of the nose remains in the sculpture, just as it appears on the coins. Compare, inter alia, the silver tetradrachm struck at the Pella mint from about 289 to the autumn of 288 BC, where the diadem is visible as well as the bull's horns, which are not present in the reliefs but can be seen in the Forbes marble.

"Demetrios the Besieger" had a bronze equestrian statue in Athens, dated 303-302 BC, and despite the differences (the bronze statue may have shown Demetrios wearing his helmet), the monument set up in the Athenian Agora was, like the prototypes of the Alexander sarcophagus and (translated into three dimensions) the Alexander mosaic, undoubtedly an influence on this votive relief (Houser, 1982, pp. 229-238). The bronze statue in Athens has been restored wearing a crested helmet with a Pegasus support under the crest on top. Since no other early equestrian representation of this type show the ruler, Alexander the Great or a successor, wearing such a helmet, it is tempting to think the helmet was part of a trophy on the plinth or was set on the plinth, perhaps under the horse's hoof.

Cornelius Vermeule and Amy Brauer

This limestone relief panel was discovered at the site of La Pasadita - a colony of the center Yaxchilan on the Usamacinta River located in Southern Mexico. The panel was created roughly around A.D. 750-800, late

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8th century, by artist Chakalte (Kubler, 1962). The intricately designed relief panel likely served as a doorway to a Mayan temple that forced it's visitors to look up at the portrayal of the young lord of La Pasadita, Tiloom,

Limestone itself is a fairly easy resouce to find in Guatemala. However, archaeologists were impressed by the amount of color the limestone retained in the door lintel over such a long period of time since its production. In the original piece, there were vibrant shades of red, yellow, and jade. Jade was an important color in Mayan culture for its representation of royalty. Chakalte used jade very intentionally as Shield Jaguar IV's necklace to symbolize his powerful rule over the kingdom (Chakalte, 2016). To fabricate the plaster for the Mayan relief panel, Chakalte had to crush and burn pieces of limestone to design more intricate details such as the different faces of the men pictured.

The Relief with Enthroned Ruler panel was scultped, painted, and portrayed in a Mayan religious temple in order to exalt the king. This piece was created during the Late Classic Nacimiento phase (A.D 760-830)(Foias, 1997). The most common subjects in Mayan art are mortal rulers and supernatural beings (Doyle, 2000). The Relief with Enthroned Ruler symbolizes Tiloom's devotion to Shield Jaguar IV. Historians have been able to learn about ancient America through various pieces of art and what they depict about civilization, this piece being no exception. Anthropologists have deduced that there were three main classifications of ancient Mayan people : simple villagers, priestly rulers, and professional warriors (Kubler, 1962).

Relief with Enthroned Ruler magnifies the deep societal ties between the political and religious culture of Yaxchilan. This piece of art is the last before the institutional collapse in the 8th century (Chakalte, 2016). Due to glacial melting and the continental drift, Ancient American culture was virtually isolated from the rest of the world for centuries; therefore much of the art and culture is unique to the area it originated. However, despite the Mayans distance from the rest of the word, there are anagolous customs to other ancient civilizations such as hierarchal government and ritualistic religious beliefs (Baaren and Kampen, 1981). The Yaxchilan lord, Shield Jaguar IV, was the final major ruler before the disintegration of the kingdom itself thus solidifying the Relief with Enthroned Ruler as a prized fragment of history.

This fragmentary tablet depicts a seated man, probably a ruler or high official, holding a beaker in his right hand and a bundle of plants in his left. A nude priest brings a jug, and a small goat is jumping onto the ruler's knees. Two officials in the characteristic tufted skirts approach; the first clasps his hands in a gesture of respect, and the second brings a goat as a gift or offering.

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Ashurbanipal spent a lot of effort dealing with Elam's troublesome rulers, who plotted against Assyria. The exasperated Ashurbanipal decided to crush Elam once and for all. He robbed the palaces and temples and ordered that the royal tombs be opened and the bones of kings taken. Those who survived were brought back to Assyria in chains as slaves.

While he wasn't crushing enemies and killing lions, perhaps incongruously Ashurbanipal enjoyed scholarly pursuits. He could read and write, which was unusual for a king. He loved to boast about his scholarly abilities, and he even represented himself in his palace reliefs with a stylus (used for writing) in his belt, along with his sword. The pen may be mightier than the sword, but Ashurbanipal was pretty handy with both! Ashurbanipal developed the first systematically collected and catalogued library in the world. He wanted a copy of every book worth having and sent his minions across the empire to gather all the knowledge in the world. Assyrian books were mostly written on clay tablets, not on paper, in a script called cuneiform, which used little wedges to make up symbols. In total he gathered hundreds of thousands of these tablets, around 30,000 of which are now in the British Museum.

One evening, while teaching a class of carving students, I was trying to draw an ellipse, with the usual frustration that accompanies such a task, when a student of mine, Ron Bush (bless his:-) showed me what he termed the "trammel method". This method involves only a piece of paper, a clear plastic ruler and a pencil. Oh, and one more thing you have to poke your tongue out of the side of your mouthjust a little bit, to help with concentration.

Start with a piece of paper, 8.5" X 11" (standard letter size), since you will first draw a small ellipse to see how it works. You can move to a larger size of paper later when you wish to draw an ellipse large enough for a relief carving design.

Get a clear plastic ruler, a pencil, and two small pieces of masking tape. The ellipse you are going to draw will be 8" wide and 10" tall. Fasten the paper with masking tape, to a flat surface so that the length of the paper is vertical. Then draw a vertical line up the middle of the paper. Be accurate. The line should be dead center on the width, and parallel to the edges of the paper. This will form the "X" axis of your ellipse.

Cut two small pieces of masking tape, and place these at the edge of the ruler, right over the 4" mark and the 5" marks (see the drawing). Hold the ruler up to the light so you can see the 4" mark, and draw a short line on the tape to show where the 4" mark is underneath. Do the same for the 5" mark. This step is needed in order for you to easily and quickly identify the two marks on your ruler. You'll make less mistakes with these marks in place. The 5" and 4" marks represent 1/2 of the "X" and "Y" axes respectively.

You will notice that the 5" mark is resting, logically, on the center of the ellipse, which is also on the "Y" axis. As the ruler is positioned to plot the perimeter of the ellipse, the 5" mark will "slide" along the "Y" axis, just as the 4" mark will slide along the "X" axis. The "O" (zero) mark will plot the perimeter of the ellipse for you. All you have to do is plot with a pencil the location of the "0" mark in 1/2" increments as the 4" mark and the 5" mark "slide" along their respective axes. Simple, eh? ff782bc1db