The three main Aegean civilizations that arose during the Bronze Age were the Cycladic, Minoan, and Mycenaean. The Cycladic people produced stylized marble figurines on the islands, while the Minoans built elaborate palaces like Knossos on Crete characterized by its complex layout and fresco art depicting figures in motion. The Mycenaeans constructed massive citadels with cyclopean masonry and corbel vaults, such as the Treasury of Atreus. Minoan art was notable for its curvilinear style, use of fresco painting, and depictions of nature. Sculpture included the Snake Goddess holding serp
A slideshow connected to a lecture of Aegean Art available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Naraelle Hohensee.
Art produced in the Byzantine empire (or Eastern Roman Empire)—at its height, a territory that spanned large swaths of the Mediterranean, present-day Turkey, Southern Spain, and Italy—between the 4th and 15th centuries, when it fell to the Ottoman Turks. As the empire's official religion was Orthodox Christianity, Byzantine art was largely devotional, Christian art. Perhaps the best known example of Byzantine art is a tenth-century mosaic of the Virgin Mary in the Hagia Sophia in Istanbul that demonstrates the stylized forms, sharp contours, flat fields of color, and gold mosaic the period is known for.
A slideshow connected to a lecture of Aegean Art available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Naraelle Hohensee.
Art produced in the Byzantine empire (or Eastern Roman Empire)—at its height, a territory that spanned large swaths of the Mediterranean, present-day Turkey, Southern Spain, and Italy—between the 4th and 15th centuries, when it fell to the Ottoman Turks. As the empire's official religion was Orthodox Christianity, Byzantine art was largely devotional, Christian art. Perhaps the best known example of Byzantine art is a tenth-century mosaic of the Virgin Mary in the Hagia Sophia in Istanbul that demonstrates the stylized forms, sharp contours, flat fields of color, and gold mosaic the period is known for.
I required to find and collect variety of current and creative images/pictures from any books or others references/sources for components/elements in park and open space. The images showed the new ideas which is creative or contemporary. The categories are water feature, playground, hardscape, open spaces, and lighting.
At the end of assignment, I abled to observe more creative design and planning design standard to be implimented in my design.
A slideshow connected to a lecture of Roman and Etruscan Art available at Art History Teaching Resources (http://arthistoryteachingresources.org/), written by Christina McCollum.
THE ANCIENT GREEK ART
THE ANCIENT GREEK ART
Most influential cultures in the world.
Rich collection of myth, music, drama, and art.
Greek art started 3000 years ago.
GOLDEN AGES
ARCHAIC PERIOD
= EGYPTIAN INFLUENCE ART
CLASSICAL PERIOD
= IDEALISTIC ART, FULL PERFECTION BOTH SCULPTURE AND ARCHITECTURE.
THE HELLENIC ART
= TIME WHEN ARCHITECTURE
DECLINE
Five forms where Ancient Greek Arts Excelled
POTTERY
POTTERY
Primary for pottery.
Declaration became more figurative ( animals, human figures, and zoomorphs ).
Pottery was introduced by the corinthians.
ARCHITECTURE
DORIC COLUMN
Sturdy and plain.
Used in mainland Greece.
Temple of Hera
SCULPTURE
Influence by Egyptians and Syrians techniques.
Figures sculpted were mainly “Kouros and Kore”
PAINTING
Temples, buildings and tombs are decorated with fresco.
Fresco is a technique that we use of egg and wet plaster.
Tempera= mixture of egg, paint and water.
THE CLASSICAL PERIOD
POTTERY
Established Athens as the strongest city – state.
Popularity of ceramic and vases declined both in quality and artistic merit.
Used white-ground technique.
ARCHITECTURE
Doric and Ionic Columns remained during classical period.
Doric is described as more formal.
Ionic is more decorative and relaxed.
SCULPTURE
Anatomy became more accurate.
Statues became more realistic (human).
Bronze became the main medium.
Contrapposto was introduced.
FAMOUS SCULPTORS
MYRON Discus Thrower
Greatest sculptor of his time.
First to achieve life-like representation in figurative sculpture.
Gods, heroes and Athletes.
POLYKLEITOS Doryphorus
Sometimes called Elder.
Greatest sculptors of Classical Antiquity.
Known for his bronze sculptures.
CALLIMACHUS Muses
Poet, Critic and Scholar at the Library of Alexandria=largest library in ancient world.
Muses the nine goddesses of art.
HELLENISTIC PERIOD
HELLENISTIC PERIOD
Secular patrons influence sculpture and mosaic.
Wide range of pottery was produced.
But not given much importance.
SCULPTURE
CHARACTERISTICS
Naturalism was continually used.
Animals and ordinary people were accepted as major subject.
Although production of sculptures was increased, workmanship and creativity greatly suffered.
Greater expression characterized the sculptures of this period.
Colossus of Rhodes
The Three Graces
Borghese Gladiator
Venus De Milo
ARCHITECTURE
Temple of immense size
Theaters of similarly colossal
Storied colonel (stoa)
Public monument
Monumental tomb (mausoleum)
Council building (bouleuterion)
Processional gateway (propylon)
Stadium
Public square
EGYPTIAN ARTS REFLECTS ITS CULTURE AND RELIGION. "Egyptian art" redirects here. For the art of modern Egypt, see Contemporary art in Egypt.
Art of ancient Egypt
The Mask of Tutankhamun; c. 1327 BC; gold, glass and semi-precious stones; height: 54 cm (21 in); Egyptian Museum (Cairo)
The Great Pyramid of Giza, constructed between c. 2580–2560 BC during the Old Kingdom period
History of art
Periods
Regions
Religions
Techniques
Types
vte
Ancient Egyptian art refers to art produced in ancient Egypt between the 6th millennium BC and the 4th century AD, spanning from Prehistoric Egypt until the Christianization of Roman Egypt. It includes paintings, sculptures, drawings on papyrus, faience, jewelry, ivories, architecture, and other art media. It is also very conservative: the art style changed very little over time. Much of the surviving art comes from tombs and monuments, giving more insight into the ancient Egyptian afterlife beliefs.
The ancient Egyptian language had no word for "art". Artworks served an essentially functional purpose that was bound with religion and ideology. To render a subject in art was to give it permanence. Therefore, ancient Egyptian art portrayed an idealized, unrealistic view of the world. There was no significant tradition of individual artistic expression since art served a wider and cosmic purpose of maintaining order (Ma'at).
The Early Dynastic Period of Egypt immediately follows the unification of Upper and Lower Egypt, c. 3100 BC. It is generally taken to include the First and Second Dynasties, lasting from the end of the Naqada III archaeological period until about 2686 BC, or the beginning of the Old Kingdom.[8]
Cosmetic palettes reached a new level of sophistication during this period, in which the Egyptian writing system also experienced further development. Initially, Egyptian writing was composed primarily of a few symbols denoting amounts of various substances. In the cosmetic palettes, symbols were used together with pictorial descriptions. By the end of the Third Dynasty, this had been expanded to include more than 200 symbols, both phonograms and ideograms.[20]
The Middle Kingdom of Egypt (a.k.a. "The Period of Reunification") follows a period of political division known as the First Intermediate Period. The Middle Kingdom lasted from around 2050 BC to around 1710 BC, stretching from the reunification of Egypt under the reign of Mentuhotep II of the Eleventh Dynasty to the end of the Twelfth Dynasty. The Eleventh Dynasty ruled from Thebes and the Twelfth Dynasty ruled from el-Lisht. During the Middle Kingdom period, Osiris became the most important deity in popular religion.[24] The Middle Kingdom was followed by the Second Intermediate Period of Egypt, another period of division that involved foreign invasions of the country by the Hyksos of West Asia.
After the reunification of Egypt in the Middle Kingdom, the kings of the Eleventh and Twelfth Dynasties were able to return their focus to art. In the E
Transcript: Selling digital books in 2024: Insights from industry leaders - T...BookNet Canada
The publishing industry has been selling digital audiobooks and ebooks for over a decade and has found its groove. What’s changed? What has stayed the same? Where do we go from here? Join a group of leading sales peers from across the industry for a conversation about the lessons learned since the popularization of digital books, best practices, digital book supply chain management, and more.
Link to video recording: https://bnctechforum.ca/sessions/selling-digital-books-in-2024-insights-from-industry-leaders/
Presented by BookNet Canada on May 28, 2024, with support from the Department of Canadian Heritage.
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Key Trends Shaping the Future of Infrastructure.pdfCheryl Hung
Keynote at DIGIT West Expo, Glasgow on 29 May 2024.
Cheryl Hung, ochery.com
Sr Director, Infrastructure Ecosystem, Arm.
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Here is something new! In our next Connector Corner webinar, we will demonstrate how you can use a single workflow to:
Create a campaign using Mailchimp with merge tags/fields
Send an interactive Slack channel message (using buttons)
Have the message received by managers and peers along with a test email for review
But there’s more:
In a second workflow supporting the same use case, you’ll see:
Your campaign sent to target colleagues for approval
If the “Approve” button is clicked, a Jira/Zendesk ticket is created for the marketing design team
But—if the “Reject” button is pushed, colleagues will be alerted via Slack message
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And...
Speakers:
Akshay Agnihotri, Product Manager
Charlie Greenberg, Host
Epistemic Interaction - tuning interfaces to provide information for AI supportAlan Dix
Paper presented at SYNERGY workshop at AVI 2024, Genoa, Italy. 3rd June 2024
https://alandix.com/academic/papers/synergy2024-epistemic/
As machine learning integrates deeper into human-computer interactions, the concept of epistemic interaction emerges, aiming to refine these interactions to enhance system adaptability. This approach encourages minor, intentional adjustments in user behaviour to enrich the data available for system learning. This paper introduces epistemic interaction within the context of human-system communication, illustrating how deliberate interaction design can improve system understanding and adaptation. Through concrete examples, we demonstrate the potential of epistemic interaction to significantly advance human-computer interaction by leveraging intuitive human communication strategies to inform system design and functionality, offering a novel pathway for enriching user-system engagements.
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In this insightful webinar, Inflectra explores how artificial intelligence (AI) is transforming software development and testing. Discover how AI-powered tools are revolutionizing every stage of the software development lifecycle (SDLC), from design and prototyping to testing, deployment, and monitoring.
Learn about:
• The Future of Testing: How AI is shifting testing towards verification, analysis, and higher-level skills, while reducing repetitive tasks.
• Test Automation: How AI-powered test case generation, optimization, and self-healing tests are making testing more efficient and effective.
• Visual Testing: Explore the emerging capabilities of AI in visual testing and how it's set to revolutionize UI verification.
• Inflectra's AI Solutions: See demonstrations of Inflectra's cutting-edge AI tools like the ChatGPT plugin and Azure Open AI platform, designed to streamline your testing process.
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Let me take this questions and provide you a short journey through existing deployment models and use cases for AI software. On practical examples, we discuss what cloud/on-premise strategy we may need for applying it to our own infrastructure to get it to work from an enterprise perspective. I want to give an overview about infrastructure requirements and technologies, what could be beneficial or limiting your AI use cases in an enterprise environment. An interactive Demo will give you some insides, what approaches I got already working for real.
State of ICS and IoT Cyber Threat Landscape Report 2024 previewPrayukth K V
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The latest edition of the OT/ICS and IoT security Threat Landscape Report 2024 also covers:
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Sectoral targets and attacks as well as the cost of ransom
Global APT activity, AI usage, actor and tactic profiles, and implications
Rise in volumes of AI-powered cyberattacks
Major cyber events in 2024
Malware and malicious payload trends
Cyberattack types and targets
Vulnerability exploit attempts on CVEs
Attacks on counties – USA
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In-depth analysis of the cyber threat landscape across North America, South America, Europe, APAC, and the Middle East
Why are attacks on smart factories rising?
Cyber risk predictions
Axis of attacks – Europe
Systemic attacks in the Middle East
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Have you ever wanted a Ruby client API to communicate with your web service? Smithy is a protocol-agnostic language for defining services and SDKs. Smithy Ruby is an implementation of Smithy that generates a Ruby SDK using a Smithy model. In this talk, we will explore Smithy and Smithy Ruby to learn how to generate custom feature-rich SDKs that can communicate with any web service, such as a Rails JSON API.
Generating a custom Ruby SDK for your web service or Rails API using Smithy
Aegean Art: Chapter 4
1. AEGEAN ART
•Once upon a time, at the
height of the Bronze Age,
three successful civilizations
arose in what is today
southern Greece…
2. Cycladic: 3000-1600 BCE
(Cycladic islands in the Aegean Sea)
*Produced stylized statuettes of nude standing females and
nude males playing musical instruments
Minoan: 1900-1375 BCE (Island of Crete)
*Built mixed-use palaces with complex ground plans
Mycenaean: 1600-1100 BCE (Greece)
*Built massive citadels marked by cyclopean masonry and
corbelled vaulting
Aegean art’s three main civilizations:
7. Sir Arthur Evans with a dandy find
Evans (from England) and
Schliemann (from Germany)
dug through the ancient ruins
of ancient Greece and the
Greek Islands to find stuff
They say these men did more
harm than good in the way
they uncovered the sites (not
very careful)
However, their names are still
recorded as pioneering
archaeologists
9. ARCHITECTURE:
•Used CYCLOPEAN MASONRY: placed minimally cut blocks of
stone atop one another to create walls and buildings without mortar.
•Excelled at the CORBELLED ARCH: a type of vaulted space in
which the blocks of stone are gradually placed closer together as the
building rises, forming an inverted V-shaped roof.
CORBELLED
ARCH
cyclopean
masonry
(no mortar)
10. PAINTING
•Back in Egypt, artists painted on a dry wall (“fresco
secco”- dry fresco)
•Fresco secco is not permanent = chipping paint
•Aegean artists used BUON FRESCO technique
(“true fresco”)
•Buon fresco = paint applied to fresh plaster = long
lasting and durable
•Buon fresco: requires quick brushwork and
spontaneous work. This gives Aegean painting
fluidity (not rigid like Egypt)
12. SCULPTURE
•Used REPOUSSE
technique: fitting a thin
sheet of metal (gold or
bronze) onto a surface
•The metal is shaped with
small hammers from the
backside
•A design is beaten on the
inside of the object,
leaving a raised surface
on the exterior (made in
reverse pretty much)
•Working the metal from
the front is called
CHASING
15. CYCLADIC ART
•Found in grave sites on the Greek islands
•Figurines placed by the dead
•Women: always carved standing and nude
•Men: carved playing harps
•Men and women have heads tilted back
•Rendered in simple geometric shapes, which make them look modern
•Small traces of paint found on the figurines
Major works of Cycladic Art…
16. CYCLADIC FEMALE
2500 BCE, marble
•highly stylized nude woman
•arms folded around waist
•thin figure, prominent head
•feet too small to support the sculpture
•Meant to be placed on their straight
backs, lying down, next to the deceased
•Wedge-shaped pelvis and body
17. •triangular groin area
•modest breasts (nothing like Venus!)
•painted facial features
•head tilted back
•found in graves
•varied in size from large to small
24. MINOAN ART
• Fluidity in figures (unique in art history at this point)
• Figures not “stuck” on ground line; they enjoy free movement and
dynamic vigor
• Curved lines dominate compositions
• Slow, S-shaped curves very common
• Figures have small waists, frontal shoulders, profile bodies
• Men painted darker than women
• Introduced pure landscape- lush vegetation with no human
presence
25. MINOAN ARCHITECTURE
•Unusual, complicated ground
plan
•Rooms stretching out next to
long corridors
•Spacious courtyards
•MEGARON= main audience
chamber in Minoan palace
•Megaron has wooden
columns that taper inward as
they go down
•Columns painted red or white
(to look nice, and to preserve
wood)
•Capitals are bulbous and painted black
29. •Low ceilings, intimate rooms
•Terraces and open galleries
•Capitals painted black sit like cushions on top
of columns
•Central courtyard
with rooms
attached around it
•Open-air
chambers flood
interior with light
•Labyrinth-like
ground plan
•wood columns
painted mostly red
or white
•Columns smaller
at bottom than at
top
30.
31. Palace at
Knossos was also
a center for…
•business
•religion
•trade
•manufacturing
•politics
“restorations” have
obscured some of
the original design
32. MINOAN PAINTING:
•Murals done in FRESCO technique
•Large gaps filled in by modern
restorers
•Extremely curvilinear and lyrical line
•Vibrant colors, smooth lines and sense
of nature
34. •Possibly a ritual
showing two women and
a man jumping over a
bull
•Woman on left grabs
horns
•Man jumping over bull
•Woman on right has just
landed (ta da!)
•Man darker than women
•Extremely thin waists
•Groundbreaking! –
figures in profile! Not
frontal torso like earlier
art, but still looks like
Egyptian Amarna style
•Figures have floating quality- no ground lines
•Sweeping curved lines
•S-shaped curve of bull’s body and tail
•Bull appears decorative and non -threatening
36. *Joyful patterns of undulating lines and fanciful plant
forms dominate composition
*Cheerful application of color
*Geometrically simplified swallows fly through the air
One of the
earliest pure
landscapes in
existence
next time you’re in
Athens, go to the
museum and check it out
37. GIRL GATHERING SAFFRON
CROCUS FLOWERS, 1630 BCE.
•Buon fresco
•In room dedicated to women’s
initiation ceremonies
•Young woman picks saffron
plant- used for dye, food, and
medicine
•Girl wears typical Minoan
flounced skirt
•Short sleeve shirt
•Jewelry
•Hairstyle of a child
•Light blue color of scalp shows
childhood shaved head is
growing out
38. Images of The "Flotilla Fresco" from Akrotiri
c. 1650 BCE.
44. SNAKE GODDESS, c. 1600 BCE,
gold and ivory
•Goddess? Fertility image? Assistant to the
goddess?
•Minoan thin waist, exposed breasts
•Flounced skirt in layers
•Apron layered on top
•Wide-eyed, astonished expression
•Cat image on head dress (crazy cat lady!)
•Holds snake in each hand
•Frontal, symmetrical
•No visible legs
45. and she’s not the only one!
This one was made
with the “faience”
technique.
Remember how they
used that in Egypt
too?
from Egypt
47. Kamares Ware Jug
*Introduction of potter’s wheel
in early 2000’s BCE!
*Extremely thin walls
*Graceful, stylized, painted
decoration
*Beaked pouring spout
*Rounded contours compliment
bold, curving plant forms
painted on
48. OCTOPUS FLASK
c. 1500-1450 BCE.
Marine-style ceramic,
height 11”
•“Marine Style”
•Depictions of sea life on
surface
•Celebrates the sea
•Floating creatures
•Grace and energy of
natural forms
•Stylized design in
harmony with vessel’s
spherical shape
49. Harvester Vase
c. 1650-1450 BCE
4 ½ -inch diameter!
•Made of steatite (stone)
•a RHYTON (vessel used
for pouring liquids)
•Egg-shaped
•May have been covered in
gold leaf (sheets of
hammered gold, oooo!)
•Rowdy procession of 27
men
•Emotion shows in faces
•March and chant to beat of
rattle
50. Look at this guy
singing his heart out!
Men have large,
coarse features
Muscular bodies with
ribs sticking out
Festival? Religious
procession? Dance?
Warriors?
Laborers?
Who knows!
52. Bull’s Head Rhyton, c.1550-1450 BCE,
Steatite with shell, rock crystal, and red jasper.
Gilt-wood horns restored, 12” high
•Incised lines
•Found in Palace of Knossos
•Like an animal portrait
•Lightly engraved lines filled with white
powder to make them stand out
•Short curly hair on top of head, shaggy strands
on sides, circular patterns on neck
•Shell outlines nostrils. Rock crystal and red
jasper for eyes
•Horns- wood covered in gold leaf
•Liquid poured into hold in neck and flows out
mouth, cool!
53. MYCENEAN ART
•CYCLOPEAN MASONRY and CORBELLED
ARCHES are key characteristics
•Influenced by Minoan painting- figures have
narrow waists and broad shoulders
•Overall movement away from delicate Minoan
forms to a more realistic concept
55. TREASURY OF ATREUS EXTERIOR VIEW c. 1300 BCE
Long entranceway
Let’s go inside!!!
56. TREASURY OF ATREUS
Interior View, c. 1300 BCE
43’ high, limestone
*Misnamed in the belief it
was storage for treasures
(probably originally a
tomb for THOLOS)
*Corbel vaulted
*Largest interior domed
space until the Romans
*Precision cutting of stone
62. • Triangular group over doorway
• An early PEDIMENT on a post-
and-lintel gate
• Minoan column between two
lions (heads fell off, oops!)
• Heads were turned to face
observer
• Narrow, tall passageway leading
to gate, built for defensive
purposes- protected entrance of
a Mycenean citadel.
• Stones grooved into place, no
mortar
• CORBELLED VAULT
65. MASK OF AGAMEMNON
Funerary mask
Mycenae, Greece. c.
1600 BCE. Gold
•Gold, worked in
REPOUSSE
•Found in royal shaft
grave
•Mask placed on the
deceased’s face (like
Egyptian burial)
•Curlicue ears
•Eyes rendered as slits
•Hair detailed with long,
thin incised marks
Let’s not forget sculpture….
BULL LEAPING Wall painting with areas of modern reconstruction, from the palace complex, Knossos, Crete. Late Minoan period, c. 1450-1375 BCE . Height approx. 24-1/2" (62.3 cm). Archaeological Museum, Iraklion, Crete. [Fig. 04-07]
FIGURE OF A WOMAN WITH A DRAWING SHOWING EVIDENCE OF ORIGINAL PAINTING AND OUTLINING DESIGN SCHEME Cyclades. c. 2600-2400 BCE . Marble, height 24-3/4" (62.8 cm). Figure: Metropolitan Museum of Art, New York. Gift of Christos G. Bastis (68.148). Drawing: Elizabeth Hendrix. [Fig. 04-02a]
FIGURE OF A WOMAN WITH A DRAWING SHOWING EVIDENCE OF ORIGINAL PAINTING AND OUTLINING DESIGN SCHEME Cyclades. c. 2600-2400 BCE . Marble, height 24-3/4" (62.8 cm). Figure: Metropolitan Museum of Art, New York. Gift of Christos G. Bastis (68.148). Drawing: Elizabeth Hendrix. [Fig. 04-02b]
HEAD WITH REMAINS OF PAINTED DECORATION Cyclades. c. 2500-2200 BCE . Marble and red pigment, height 9-11/16" (24.6 cm). National Museum, Copenhagen. (4697) [Fig. 04-03]
RECONSTRUCTION DRAWING OF THE "PALACE" COMPLEX, KNOSSOS, CRETE As it would have appeared during the New Palace period. Site occupied since the Neolithic period; the Minoan complex of the Old Palace period (c. 1900-1700 BCE ) was rebuilt during New Palace period (c. 1700-1450 BCE ) after earthquakes and fires; final destruction c. 1375 BCE . [Fig. 04-05]
EAST WING STAIRWELL "Palace" complex, Knossos, Crete. New Palace period, c. 1700-1450 BCE . [Fig. 04-06]
LANDSCAPE ("SPRING FRESCO") Wall painting with areas of modern reconstruction, from Akrotiri, Thera, Cyclades. Before 1630 BCE . National Archaeological Museum, Athens. [Fig. 04-14]
GIRL GATHERING SAFFRON CROCUS FLOWERS Detail of wall painting, Room 3 of House Xeste 3, Akrotiri, Thera, Cyclades. Before 1630 BCE . Thera Foundation, Petros M. Nomikos, Greece. [Fig. 04-01]
A CLOSER LOOK: The "Flotilla Fresco" from Akrotiri Detail of the left part of a mural from Room 5 of West House, Akrotiri, Thera. New Palace period, c. 1650 BCE . Height 14 5/16" (44 cm). National Archaeological Museum, Athens.
KAMARES WARE JUG From Phaistos, Crete. Old Palace period, c. 2000-1900 BCE . Ceramic, height 10-5/8" (27 cm). Archaeological Museum, Iraklion, Crete. [Fig. 04-04]
OCTOPUS FLASK From Palaikastro, Crete. New Palace period, c. 1500-1450 BCE . Marine-style ceramic, height 11" (28 cm). Archaeological Museum, Iraklion, Crete. [Fig. 04-11]
TWO VIEWS OF THE HARVESTER RHYTON From Hagia Triada, Crete. New Palace period, c. 1650-1450 BCE . Steatite, greatest diameter 4-1/2" (11.3 cm). Archaeological Museum, Iraklion, Crete. [Fig. 04-09a]
EXTERIOR VIEW OF THOLOS, THE SO-CALLED TREASURY OF ATREUS Mycenae, Greece. c. 1300-1200 BCE . [Fig. 04-23]
CORBEL VAULT, INTERIOR OF THOLOS, THE SO-CALLED TREASURY OF ATREUS Limestone vault, height approx. 43' (13 m), diameter 47'6" (14.48 m). [Fig. 04-24]
LION GATE, MYCENAE c. 1250 BCE . Historic photo showing Heinrich and Sophia Schliemann. [Fig. 04-17]
MASK OF AGAMEMNON Funerary mask, from Shaft Grave v, Grave Circle A, Mycenae, Greece. c. 1600-1550 BCE . Gold, height approx. 12" (35 cm). National Archaeological Museum, Athens. [Fig. 04-20]
