Yale University Art Gallery

Mosaic Fragment with a Dionysiac Procession late 2nd–early 3rd century A.D. Mosaic: limestone and glass tesserae 67.3 × 67.9 cm (26 1/2 × 26 3/4 in.) Ruth Elizabeth White Fund 2004.2.2 This fragment (as well as 2004.2.1 and 2004.2.3–.5) was once part of a much larger mosaic on the floor of a triclinium (dining room) of a Roman house in Gerasa. In the procession, revelers accompany centaurs drawing Dionysos and his consort Ariadne on a cart. Below, Erato, muse of erotic poetry and mime, plays a lyre, while Euterpe, muse of lyric poetry, holds two auloi (reed instruments much like oboes). More than twenty other fragments of this floor exist today, the majority of which are in Berlin. The Yale University Art Gallery’s fragments were discovered in 1927, following earlier excavations in 1907. Geography: Excavated in Gerasa, Jordan Culture: Roman, Gerasa (Jordan) Period: Roman Classification: Mosaic Provenance: Discovered and excavated at Gerasa before 1927, when purchased (as a group of 10 fragments) from a dealer in Damascus, by Nelda C. and H.J. Lutcher Stark; collection of the Stark Museum of Art in Orange, Texas; collection of a New York Corporation; Sotheby's NY 12/9/2003 lot #74. Bibliography: Professor Paul V. C. Baur, Gerasa: City of the Decapolis, ed. Carl H. Kraeling (New Haven, Conn.: American Schools of Oriental Research, 1938), 351–52, 458–59. Hetty Joyce, “Dionysiac Artists and Cult Practices in a Mosaic from Gerasa,” American Journal of Archaeology 84, no. 2 (1980): 215–16. Michele Piccirillo, I mosaici di Giordania (Rome: Quasar, 1986), 107. Michele Piccirillo, The Mosaics of Jordan (Amman, Jordan: American Center of Oriental Research, 1993), 282–83. Christine Kondoleon, Domestic and Divine: Roman Mosaics in the House of Dionysos (Ithaca, N.Y.: Cornell University Press, 1995), 215–17. Dela von Boeselager, “Zum Mosaik aus Gerasa: Fifth International Colloqium on Ancient Mosaics,” Journal of Roman Archaeology Supplementary Series 9 (1995): 57–63. Rina Talgam and Ze’ev Weiss, “The Mosaics in the House of Dionysos at Sepphoris,” Qedem 44 (2003): 5–7. “Acquisitions 2004,” Yale University Art Gallery Bulletin (2005): 153. Richard A. Grossmann, “A New Reconstruction of a Mosaic from Gerasa,” Yale University Art Gallery Bulletin (2006): 149–53, fig. 3. Lisa R. Brody and Gail Hoffman, eds., Dura-Europos: Crossroads of Antiquity (Boston: McMullen Museum of Art, 2011), 370, 372, no. 69, 71, pl. 69, 71. Text from: artgallery.yale.edu/collections/objects/79007

Mosaic Fragment with a Dionysiac Procession late 2nd–early 3rd century A.D. Mosaic: limestone and glass tesserae 62.2 × 54.6 cm (24 1/2 × 21 1/2 in.) Ruth Elizabeth White Fund 2004.2.3 This fragment (as well as 2004.2.1–.2 and 2004.2.4–.5) was once part of a much larger mosaic on the floor of a triclinium (dining room) of a Roman house in Gerasa. In the procession, revelers accompany centaurs drawing Dionysos and his consort Ariadne on a cart. Below, Erato, muse of erotic poetry and mime, plays a lyre, while Euterpe, muse of lyric poetry, holds two auloi (reed instruments much like oboes). More than twenty other fragments of this floor exist today, the majority of which are in Berlin. The Yale University Art Gallery’s fragments were discovered in 1927, following earlier excavations in 1907. Geography: Excavated in Gerasa, Jordan Culture: Gerasa (Jordan) Period: Roman Classification: Mosaic Provenance: Discovered and excavated at Gerasa before 1927, when purchased (as a group of 10 fragments) from a dealer in Damascus, by Nelda C. and H.J. Lutcher Stark; collection of the Stark Museum of Art in Orange, Texas; collection of a New York Corporation; Sotheby's NY 12/9/2003 lot #74. Bibliography: Professor Paul V. C. Baur, Gerasa: City of the Decapolis, ed. Carl H. Kraeling (New Haven, Conn.: American Schools of Oriental Research, 1938), 351–52, 458–59. Hetty Joyce, “Dionysiac Artists and Cult Practices in a Mosaic from Gerasa,” American Journal of Archaeology 84, no. 2 (1980): 215–16. Michele Piccirillo, I mosaici di Giordania (Rome: Quasar, 1986), 107. Michele Piccirillo, The Mosaics of Jordan (Amman, Jordan: American Center of Oriental Research, 1993), 282–83. Christine Kondoleon, Domestic and Divine: Roman Mosaics in the House of Dionysos (Ithaca, N.Y.: Cornell University Press, 1995), 215–17. Dela von Boeselager, “Zum Mosaik aus Gerasa: Fifth International Colloqium on Ancient Mosaics,” Journal of Roman Archaeology Supplementary Series 9 (1995): 57–63. Rina Talgam and Ze’ev Weiss, “The Mosaics in the House of Dionysos at Sepphoris,” Qedem 44 (2003): 5–7. “Acquisitions 2004,” Yale University Art Gallery Bulletin (2005): 153. Richard A. Grossmann, “A New Reconstruction of a Mosaic from Gerasa,” Yale University Art Gallery Bulletin (2006): 149–53, fig. 3. Lisa R. Brody and Gail Hoffman, eds., Dura-Europos: Crossroads of Antiquity (Boston: McMullen Museum of Art, 2011), 370, 373, no. 69, 72, pl. 69, 72. Text from: artgallery.yale.edu/collections/objects/79008

Mosaic Fragment with a Dionysiac Procession late 2nd–early 3rd century A.D. Mosaic: limestone and glass tesserae 62.2 × 54.6 cm (24 1/2 × 21 1/2 in.) Ruth Elizabeth White Fund 2004.2.3 This fragment (as well as 2004.2.1–.2 and 2004.2.4–.5) was once part of a much larger mosaic on the floor of a triclinium (dining room) of a Roman house in Gerasa. In the procession, revelers accompany centaurs drawing Dionysos and his consort Ariadne on a cart. Below, Erato, muse of erotic poetry and mime, plays a lyre, while Euterpe, muse of lyric poetry, holds two auloi (reed instruments much like oboes). More than twenty other fragments of this floor exist today, the majority of which are in Berlin. The Yale University Art Gallery’s fragments were discovered in 1927, following earlier excavations in 1907. Geography: Excavated in Gerasa, Jordan Culture: Gerasa (Jordan) Period: Roman Classification: Mosaic Provenance: Discovered and excavated at Gerasa before 1927, when purchased (as a group of 10 fragments) from a dealer in Damascus, by Nelda C. and H.J. Lutcher Stark; collection of the Stark Museum of Art in Orange, Texas; collection of a New York Corporation; Sotheby's NY 12/9/2003 lot #74. Bibliography: Professor Paul V. C. Baur, Gerasa: City of the Decapolis, ed. Carl H. Kraeling (New Haven, Conn.: American Schools of Oriental Research, 1938), 351–52, 458–59. Hetty Joyce, “Dionysiac Artists and Cult Practices in a Mosaic from Gerasa,” American Journal of Archaeology 84, no. 2 (1980): 215–16. Michele Piccirillo, I mosaici di Giordania (Rome: Quasar, 1986), 107. Michele Piccirillo, The Mosaics of Jordan (Amman, Jordan: American Center of Oriental Research, 1993), 282–83. Christine Kondoleon, Domestic and Divine: Roman Mosaics in the House of Dionysos (Ithaca, N.Y.: Cornell University Press, 1995), 215–17. Dela von Boeselager, “Zum Mosaik aus Gerasa: Fifth International Colloqium on Ancient Mosaics,” Journal of Roman Archaeology Supplementary Series 9 (1995): 57–63. Rina Talgam and Ze’ev Weiss, “The Mosaics in the House of Dionysos at Sepphoris,” Qedem 44 (2003): 5–7. “Acquisitions 2004,” Yale University Art Gallery Bulletin (2005): 153. Richard A. Grossmann, “A New Reconstruction of a Mosaic from Gerasa,” Yale University Art Gallery Bulletin (2006): 149–53, fig. 3. Lisa R. Brody and Gail Hoffman, eds., Dura-Europos: Crossroads of Antiquity (Boston: McMullen Museum of Art, 2011), 370, 373, no. 69, 72, pl. 69, 72. Text from: artgallery.yale.edu/collections/objects/79008

Mosaic Fragment with a Bust of Erato late 2nd–early 3rd century A.D. Mosaic: limestone and glass tesserae 69.9 × 88.9 cm (27 1/2 × 35 in.) Ruth Elizabeth White Fund 2004.2.4 This fragment (as well as 2004.2.1–.3 and 2004.2.5) was once part of a much larger mosaic on the floor of a triclinium (dining room) of a Roman house in Gerasa. In the procession, revelers accompany centaurs drawing Dionysos and his consort Ariadne on a cart. Below, Erato, muse of erotic poetry and mime, plays a lyre, while Euterpe, muse of lyric poetry, holds two auloi (reed instruments much like oboes). More than twenty other fragments of this floor exist today, the majority of which are in Berlin. The Yale University Art Gallery’s fragments were discovered in 1927, following earlier excavations in 1907. Geography: Excavated in Gerasa, Jordan Culture: Gerasa (Jordan) Period: Roman Classification: Mosaic Provenance: Discovered and excavated at Gerasa before 1927, when purchased (as a group of 10 fragments) from a dealer in Damascus, by Nelda C. and H.J. Lutcher Stark; collection of the Stark Museum of Art in Orange, Texas; collection of a New York Corporation; Sotheby's NY 12/9/2003 lot #74. Bibliography: Professor Paul V. C. Baur, Gerasa: City of the Decapolis, ed. Carl H. Kraeling (New Haven, Conn.: American Schools of Oriental Research, 1938), 351–52, 458–59. Hetty Joyce, “Dionysiac Artists and Cult Practices in a Mosaic from Gerasa,” American Journal of Archaeology 84, no. 2 (1980): 215–16. Michele Piccirillo, I mosaici di Giordania (Rome: Quasar, 1986), 107. Michele Piccirillo, The Mosaics of Jordan (Amman, Jordan: American Center of Oriental Research, 1993), 282–83. Christine Kondoleon, Domestic and Divine: Roman Mosaics in the House of Dionysos (Ithaca, N.Y.: Cornell University Press, 1995), 215–17. Dela von Boeselager, “Zum Mosaik aus Gerasa: Fifth International Colloqium on Ancient Mosaics,” Journal of Roman Archaeology Supplementary Series 9 (1995): 57–63. Rina Talgam and Ze’ev Weiss, “The Mosaics in the House of Dionysos at Sepphoris,” Qedem 44 (2003): 5–7. “Acquisitions 2004,” Yale University Art Gallery Bulletin (2005): 152–53, ill. Richard A. Grossmann, “A New Reconstruction of a Mosaic from Gerasa,” Yale University Art Gallery Bulletin (2006): 149–53, fig. 1. Text from: artgallery.yale.edu/collections/objects/79009

Mosaic Fragment with a Bust of Euterpe late 2nd–early 3rd century A.D. Mosaic: limestone and glass tesserae 62.9 × 58.4 cm (24 3/4 × 23 in.) Ruth Elizabeth White Fund 2004.2.5 This fragment (as well as 2004.2.1–.4) was once part of a much larger mosaic on the floor of a triclinium (dining room) of a Roman house in Gerasa. In the procession, revelers accompany centaurs drawing Dionysos and his consort Ariadne on a cart. Below, Erato, muse of erotic poetry and mime, plays a lyre, while Euterpe, muse of lyric poetry, holds two auloi (reed instruments much like oboes). More than twenty other fragments of this floor exist today, the majority of which are in Berlin. The Yale University Art Gallery’s fragments were discovered in 1927, following earlier excavations in 1907. Geography: Excavated in Gerasa, Jordan Culture: Gerasa (Jordan) Period: Roman Classification: Mosaic Provenance: Discovered and excavated at Gerasa before 1927, when purchased (as a group of 10 fragments) from a dealer in Damascus, by Nelda C. and H.J. Lutcher Stark; collection of the Stark Museum of Art in Orange, Texas; collection of a New York Corporation; Sotheby's NY 12/9/2003 lot #74. Bibliography: Professor Paul V. C. Baur, Gerasa: City of the Decapolis, ed. Carl H. Kraeling (New Haven, Conn.: American Schools of Oriental Research, 1938), 351–52, 458–59. Hetty Joyce, “Dionysiac Artists and Cult Practices in a Mosaic from Gerasa,” American Journal of Archaeology 84, no. 2 (1980): 215–16. Michele Piccirillo, I mosaici di Giordania (Rome: Quasar, 1986), 107. Michele Piccirillo, The Mosaics of Jordan (Amman, Jordan: American Center of Oriental Research, 1993), 282–83. Christine Kondoleon, Domestic and Divine: Roman Mosaics in the House of Dionysos (Ithaca, N.Y.: Cornell University Press, 1995), 215–17. Dela von Boeselager, “Zum Mosaik aus Gerasa: Fifth International Colloqium on Ancient Mosaics,” Journal of Roman Archaeology Supplementary Series 9 (1995): 57–63. Rina Talgam and Ze’ev Weiss, “The Mosaics in the House of Dionysos at Sepphoris,” Qedem 44 (2003): 5–7. “Acquisitions 2004,” Yale University Art Gallery Bulletin (2005): 153. Richard A. Grossmann, “A New Reconstruction of a Mosaic from Gerasa,” Yale University Art Gallery Bulletin (2006): 149–53, fig. 2. Text from: artgallery.yale.edu/collections/objects/79010

Portrait of Caligula, A.D. 12–41, (Ruled A.D. 37–41) A.D. 37–41 Marble, probably Luna 33 × 21 × 23.5 cm (13 × 8 1/4 × 9 1/4 in.) Funded by Peggy and Richard M. Danziger, LL.B. 1963, George Hopper Fitch, B.A. 1932, Allen Grover, B.A. 1922, the Leonard C. Hanna, Jr., Class of 1913, Fund, the John Heinz III Charitable Trust, and the H. J. Heinz Family Fund 1987.70.1 Caligula, who ruled as Roman emperor between A.D. 37 and 41, ranks among history’s most infamous characters, accused of a host of mad and cruel acts. Despite the questionable veracity of some of the more egregious claims against him, Caligula’s unpopularity led not only to his assassination but also to an unofficial “damnatio memoriae”—a “condemnation of his memory”—which included the removal of his portraits from public view. His portrait image, however, gives no hint of the emperor’s alleged brutality and mental imbalance. On the contrary, Caligula’s portraits are highly conservative, especially in the neat arrangement of comma-shaped locks over the forehead; this was in line with the portrait styles of his predecessor, Tiberius, and those of Augustus before him. Culture: Roman Period: Imperial, Julio-Claudian Classification: Sculpture Provenance: Said to have been found in Rome, possibly near the Tiber in the area of Ponte Milvio; Frank E. Brown, acquired in Rome around 1950; Yale University Art Gallery, New Haven, Conn., on loan since 1963, acquired from the above, 1987. Bibliography: “Acquisitions 1985–1987,” Yale University Art Gallery Bulletin 40, no. 2 (Spring 1988): 131, ill. cover. Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 266, ill. Susan B. Matheson and Diana E.E. Kleiner, I Claudia Women in Ancient Rome, exh. cat. (New Haven: Yale University Art Gallery, 1996), 61, no. 12, ill. Text from: artgallery.yale.edu/collections/objects/7260

Portrait of Caligula, A.D. 12–41, (Ruled A.D. 37–41) A.D. 37–41 Marble, probably Luna 33 × 21 × 23.5 cm (13 × 8 1/4 × 9 1/4 in.) Funded by Peggy and Richard M. Danziger, LL.B. 1963, George Hopper Fitch, B.A. 1932, Allen Grover, B.A. 1922, the Leonard C. Hanna, Jr., Class of 1913, Fund, the John Heinz III Charitable Trust, and the H. J. Heinz Family Fund 1987.70.1 Caligula, who ruled as Roman emperor between A.D. 37 and 41, ranks among history’s most infamous characters, accused of a host of mad and cruel acts. Despite the questionable veracity of some of the more egregious claims against him, Caligula’s unpopularity led not only to his assassination but also to an unofficial “damnatio memoriae”—a “condemnation of his memory”—which included the removal of his portraits from public view. His portrait image, however, gives no hint of the emperor’s alleged brutality and mental imbalance. On the contrary, Caligula’s portraits are highly conservative, especially in the neat arrangement of comma-shaped locks over the forehead; this was in line with the portrait styles of his predecessor, Tiberius, and those of Augustus before him. Culture: Roman Period: Imperial, Julio-Claudian Classification: Sculpture Provenance: Said to have been found in Rome, possibly near the Tiber in the area of Ponte Milvio; Frank E. Brown, acquired in Rome around 1950; Yale University Art Gallery, New Haven, Conn., on loan since 1963, acquired from the above, 1987. Bibliography: “Acquisitions 1985–1987,” Yale University Art Gallery Bulletin 40, no. 2 (Spring 1988): 131, ill. cover. Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 266, ill. Susan B. Matheson and Diana E.E. Kleiner, I Claudia Women in Ancient Rome, exh. cat. (New Haven: Yale University Art Gallery, 1996), 61, no. 12, ill. Text from: artgallery.yale.edu/collections/objects/7260

Portrait of Caligula, A.D. 12–41, (Ruled A.D. 37–41) A.D. 37–41 Marble, probably Luna 33 × 21 × 23.5 cm (13 × 8 1/4 × 9 1/4 in.) Funded by Peggy and Richard M. Danziger, LL.B. 1963, George Hopper Fitch, B.A. 1932, Allen Grover, B.A. 1922, the Leonard C. Hanna, Jr., Class of 1913, Fund, the John Heinz III Charitable Trust, and the H. J. Heinz Family Fund 1987.70.1 Caligula, who ruled as Roman emperor between A.D. 37 and 41, ranks among history’s most infamous characters, accused of a host of mad and cruel acts. Despite the questionable veracity of some of the more egregious claims against him, Caligula’s unpopularity led not only to his assassination but also to an unofficial “damnatio memoriae”—a “condemnation of his memory”—which included the removal of his portraits from public view. His portrait image, however, gives no hint of the emperor’s alleged brutality and mental imbalance. On the contrary, Caligula’s portraits are highly conservative, especially in the neat arrangement of comma-shaped locks over the forehead; this was in line with the portrait styles of his predecessor, Tiberius, and those of Augustus before him. Culture: Roman Period: Imperial, Julio-Claudian Classification: Sculpture Provenance: Said to have been found in Rome, possibly near the Tiber in the area of Ponte Milvio; Frank E. Brown, acquired in Rome around 1950; Yale University Art Gallery, New Haven, Conn., on loan since 1963, acquired from the above, 1987. Bibliography: “Acquisitions 1985–1987,” Yale University Art Gallery Bulletin 40, no. 2 (Spring 1988): 131, ill. cover. Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 266, ill. Susan B. Matheson and Diana E.E. Kleiner, I Claudia Women in Ancient Rome, exh. cat. (New Haven: Yale University Art Gallery, 1996), 61, no. 12, ill. Text from: artgallery.yale.edu/collections/objects/7260

Portrait of Caligula, A.D. 12–41, (Ruled A.D. 37–41) A.D. 37–41 Marble, probably Luna 33 × 21 × 23.5 cm (13 × 8 1/4 × 9 1/4 in.) Funded by Peggy and Richard M. Danziger, LL.B. 1963, George Hopper Fitch, B.A. 1932, Allen Grover, B.A. 1922, the Leonard C. Hanna, Jr., Class of 1913, Fund, the John Heinz III Charitable Trust, and the H. J. Heinz Family Fund 1987.70.1 Caligula, who ruled as Roman emperor between A.D. 37 and 41, ranks among history’s most infamous characters, accused of a host of mad and cruel acts. Despite the questionable veracity of some of the more egregious claims against him, Caligula’s unpopularity led not only to his assassination but also to an unofficial “damnatio memoriae”—a “condemnation of his memory”—which included the removal of his portraits from public view. His portrait image, however, gives no hint of the emperor’s alleged brutality and mental imbalance. On the contrary, Caligula’s portraits are highly conservative, especially in the neat arrangement of comma-shaped locks over the forehead; this was in line with the portrait styles of his predecessor, Tiberius, and those of Augustus before him. Culture: Roman Period: Imperial, Julio-Claudian Classification: Sculpture Provenance: Said to have been found in Rome, possibly near the Tiber in the area of Ponte Milvio; Frank E. Brown, acquired in Rome around 1950; Yale University Art Gallery, New Haven, Conn., on loan since 1963, acquired from the above, 1987. Bibliography: “Acquisitions 1985–1987,” Yale University Art Gallery Bulletin 40, no. 2 (Spring 1988): 131, ill. cover. Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 266, ill. Susan B. Matheson and Diana E.E. Kleiner, I Claudia Women in Ancient Rome, exh. cat. (New Haven: Yale University Art Gallery, 1996), 61, no. 12, ill. Text from: artgallery.yale.edu/collections/objects/7260

Portrait of Caligula, A.D. 12–41, (Ruled A.D. 37–41) A.D. 37–41 Marble, probably Luna 33 × 21 × 23.5 cm (13 × 8 1/4 × 9 1/4 in.) Funded by Peggy and Richard M. Danziger, LL.B. 1963, George Hopper Fitch, B.A. 1932, Allen Grover, B.A. 1922, the Leonard C. Hanna, Jr., Class of 1913, Fund, the John Heinz III Charitable Trust, and the H. J. Heinz Family Fund 1987.70.1 Caligula, who ruled as Roman emperor between A.D. 37 and 41, ranks among history’s most infamous characters, accused of a host of mad and cruel acts. Despite the questionable veracity of some of the more egregious claims against him, Caligula’s unpopularity led not only to his assassination but also to an unofficial “damnatio memoriae”—a “condemnation of his memory”—which included the removal of his portraits from public view. His portrait image, however, gives no hint of the emperor’s alleged brutality and mental imbalance. On the contrary, Caligula’s portraits are highly conservative, especially in the neat arrangement of comma-shaped locks over the forehead; this was in line with the portrait styles of his predecessor, Tiberius, and those of Augustus before him. Culture: Roman Period: Imperial, Julio-Claudian Classification: Sculpture Provenance: Said to have been found in Rome, possibly near the Tiber in the area of Ponte Milvio; Frank E. Brown, acquired in Rome around 1950; Yale University Art Gallery, New Haven, Conn., on loan since 1963, acquired from the above, 1987. Bibliography: “Acquisitions 1985–1987,” Yale University Art Gallery Bulletin 40, no. 2 (Spring 1988): 131, ill. cover. Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 266, ill. Susan B. Matheson and Diana E.E. Kleiner, I Claudia Women in Ancient Rome, exh. cat. (New Haven: Yale University Art Gallery, 1996), 61, no. 12, ill. Text from: artgallery.yale.edu/collections/objects/7260

Head of a Pharoah (possibly Augustus) 250–25 B.C. Dark gray schist 37 × 30.5 × 24.4 cm (14 9/16 × 12 × 9 5/8 in.) other (Height of face): 15 cm(5 7/8 in.) Lent by Yale Peabody Museum of Natural History, Barringer Collection, ANT.264259 ILE2012.1.29 Culture: Egyptian - Alexandrian Period: Ptolemaic-Roman Period Classification: Sculpture Provenance: Unknown. Formerly in the collection of Victor Clay Barringer, a judge on the Court of Appeals, Mixed Tribunal, at Alexandria in the late 19th century Bibliography: Michael I. Rostovtzeff, The Social and Economic History of the Hellenistic World, 1, 3 vols. (Oxford: Clarendon Press, 1941), 872, vol. 2, fig. Pl. XCIX, 1. Winifred Needler, “Some Ptolemaic Sculptures in the Yale University Art Gallery,” Berytus 9, no. 2 (1949): 129–141, Pl. xxv, fig. 3–4. Bernard V. Bothmer and Elizabeth Riefstahl, Egyptian Sculpture of the Late Period, 700 B.C. to A.D. 100: The Brooklyn Museum, 1960 (New York: Brooklyn Museum of Art, 1960), 131-133, no. 103, pl. 96. Nicola Bonasca, “Per L’Iconografia di Tolomeo IV,” Annuario della Scuola Archeologicca di Atene e Delle Missioni Italiane in Oriente 21–22 (1960): 369, 372, no. 3, fig. 5. Gisela Marie Augusta Richter, Portraits of the Greeks, 3 volumes (London: Phaidon Press, 1965), vol. 3, p. 264. Wolfhart Westendorf, Painting, Sculpture, and Architecture of Ancient Egypt (New York: Harry N. Abrams, Inc., 1968), 229, ill. Günter Grimm, Die römischen Mumienmasken aus Ägypten (Wiesbaden: Franz Steiner, 1974), 75, 112, pl. 19: 4. Helmut Kyrieleis, Bildnisse der Ptolemäer, 2 (Berlin: Mann, 1975), 37ff, 44, 136, 170, no. C 16, pl. 28, 1-3. Z. Kiss, “Notes sur le Portrait Imperial Romain en Egypte,” Miteilungen des Deutschen Archaeologischen Instituts, Abteilung Kairo 31 (1975): 293–302, Pl. 98c. Miguel de Bragança, Ancient Egypt: God, King, and Man, exh. cat. (New Haven, Conn.: Yale Peabody Museum of Natural History, 1978). “Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings,” Topographical Bibliography 8 (1978-1999): no. 800-942-501. Anne-Kathrein Massner, “Ägyptisierende Bildnisse des Kaisers Claudius.,” Antike Kunst 29 (1986): 67. Gerry D. Scott, III, Ancient Egyptian Art at Yale, 1st (New Haven, Conn.: Yale University Art Gallery, 1986), 170–71, no. 96, ill. Robert S. Bianchi et al., Cleopatra’s Egypt: Age of the Ptolemies, exh. cat. (Brooklyn, N.Y.: Brooklyn Museum in association with Verlag Philipp von Zabern, 1988), 147–48, 157, 249, no. 52. R. R. R. Smith, Hellenistic Royal Portraits (Oxford: Clarendon Press, 1988), 169. J. A. Josephson, Egyptian Royal Sculpture of the Late Period, 400–246 B.C. (Mainz, Germany: Verlag Philipp von Zabern, 1997), 20. Susan Walker and Peter Higgs, Cleopatra of Egypt: From History to Myth, exh. cat. (Princeton, N.J.: Princeton University Press, 2001), 172–3, no. 171, ill. Sally-Ann Ashton, Ptolemaic Royal Sculpture from Egypt: the interaction between Greek and Egyptian traditions (Oxford, England: Archaeopress, 2001), 63, fig. 2.1. Paul Edmund Stanwick, Portraits of the Ptolemies: Greek Kings as Egyptian Pharaohs (Austin: University of Texas Press, 2002), 78, 120-21, 199, no. D18, fig. 143-44. Text from: artgallery.yale.edu/collections/objects/63767

Head of a Pharoah (possibly Augustus) 250–25 B.C. Dark gray schist 37 × 30.5 × 24.4 cm (14 9/16 × 12 × 9 5/8 in.) other (Height of face): 15 cm(5 7/8 in.) Lent by Yale Peabody Museum of Natural History, Barringer Collection, ANT.264259 ILE2012.1.29 Culture: Egyptian - Alexandrian Period: Ptolemaic-Roman Period Classification: Sculpture Provenance: Unknown. Formerly in the collection of Victor Clay Barringer, a judge on the Court of Appeals, Mixed Tribunal, at Alexandria in the late 19th century Bibliography: Michael I. Rostovtzeff, The Social and Economic History of the Hellenistic World, 1, 3 vols. (Oxford: Clarendon Press, 1941), 872, vol. 2, fig. Pl. XCIX, 1. Winifred Needler, “Some Ptolemaic Sculptures in the Yale University Art Gallery,” Berytus 9, no. 2 (1949): 129–141, Pl. xxv, fig. 3–4. Bernard V. Bothmer and Elizabeth Riefstahl, Egyptian Sculpture of the Late Period, 700 B.C. to A.D. 100: The Brooklyn Museum, 1960 (New York: Brooklyn Museum of Art, 1960), 131-133, no. 103, pl. 96. Nicola Bonasca, “Per L’Iconografia di Tolomeo IV,” Annuario della Scuola Archeologicca di Atene e Delle Missioni Italiane in Oriente 21–22 (1960): 369, 372, no. 3, fig. 5. Gisela Marie Augusta Richter, Portraits of the Greeks, 3 volumes (London: Phaidon Press, 1965), vol. 3, p. 264. Wolfhart Westendorf, Painting, Sculpture, and Architecture of Ancient Egypt (New York: Harry N. Abrams, Inc., 1968), 229, ill. Günter Grimm, Die römischen Mumienmasken aus Ägypten (Wiesbaden: Franz Steiner, 1974), 75, 112, pl. 19: 4. Helmut Kyrieleis, Bildnisse der Ptolemäer, 2 (Berlin: Mann, 1975), 37ff, 44, 136, 170, no. C 16, pl. 28, 1-3. Z. Kiss, “Notes sur le Portrait Imperial Romain en Egypte,” Miteilungen des Deutschen Archaeologischen Instituts, Abteilung Kairo 31 (1975): 293–302, Pl. 98c. Miguel de Bragança, Ancient Egypt: God, King, and Man, exh. cat. (New Haven, Conn.: Yale Peabody Museum of Natural History, 1978). “Topographical Bibliography of Ancient Egyptian Hieroglyphic Texts, Reliefs, and Paintings,” Topographical Bibliography 8 (1978-1999): no. 800-942-501. Anne-Kathrein Massner, “Ägyptisierende Bildnisse des Kaisers Claudius.,” Antike Kunst 29 (1986): 67. Gerry D. Scott, III, Ancient Egyptian Art at Yale, 1st (New Haven, Conn.: Yale University Art Gallery, 1986), 170–71, no. 96, ill. Robert S. Bianchi et al., Cleopatra’s Egypt: Age of the Ptolemies, exh. cat. (Brooklyn, N.Y.: Brooklyn Museum in association with Verlag Philipp von Zabern, 1988), 147–48, 157, 249, no. 52. R. R. R. Smith, Hellenistic Royal Portraits (Oxford: Clarendon Press, 1988), 169. J. A. Josephson, Egyptian Royal Sculpture of the Late Period, 400–246 B.C. (Mainz, Germany: Verlag Philipp von Zabern, 1997), 20. Susan Walker and Peter Higgs, Cleopatra of Egypt: From History to Myth, exh. cat. (Princeton, N.J.: Princeton University Press, 2001), 172–3, no. 171, ill. Sally-Ann Ashton, Ptolemaic Royal Sculpture from Egypt: the interaction between Greek and Egyptian traditions (Oxford, England: Archaeopress, 2001), 63, fig. 2.1. Paul Edmund Stanwick, Portraits of the Ptolemies: Greek Kings as Egyptian Pharaohs (Austin: University of Texas Press, 2002), 78, 120-21, 199, no. D18, fig. 143-44. Text from: artgallery.yale.edu/collections/objects/63767

Ceiling Tile with Heliodoros, an Actuarius ca. A.D. 200–256 Clay with painted plaster 30.5 × 44 × 6.7 cm (12 × 17 5/16 × 2 5/8 in.) Yale-French Excavations at Dura-Europos 1933.292 This tile from the ceiling of a house bears a Greek inscription that identifies the bearded man by name, Heliodoros, and occupation, actuarius (an official responsible for distribution of wages in the Roman military). The use of Greek to identify a Roman official is typical of the multicultural environment at Dura-Europos. The style and technique of the figure—the frontal pose, large eyes, subtle shading, and earth-toned pigments—recall other painted decoration in the city’s buildings. Culture: Syrian, Dura-Europos Period: Roman (3rd century A.D.) Classification: Paintings Provenance: Excavated by the Yale-French Excavations at Dura-Europos (block L7 A31, House of the Scribes), present-day Syria, 1928–37; Yale University Art Gallery, New Haven, Conn. Bibliography: Michael I. Rostovtzeff, Dura-Europos and Its Art, 1st (Oxford: Oxford University Press, 1938), 83, pl. 15:1, ill. Alan Shestack, ed., Yale University Art Gallery Selections (New Haven, Conn.: Yale University Art Gallery, 1983), 18–19, ill. Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 271, ill. Susan B. Matheson, Art for Yale: A History of the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2001), 114, fig. 111. Simon T. James, The Excavations at Dura-Europos,1928 to 1937: Final Report VII, 7 (London: The British Museum Press, 2004), xxvi, 40, pl. 3. Lisa R. Brody and Gail Hoffman, eds., Dura-Europos: Crossroads of Antiquity (Boston: McMullen Museum of Art, 2011), 356, no. 49, pl. 49, ill. cover. Jennifer Chi and Sebastian Heath, eds., Edge of Empires: Pagans, Jews, and Christians at Roman Dura-Europos, exh. cat. (New York: Institute for the Study of the Ancient World, 2011), 50, no. 15, fig. 2–14. Text from: artgallery.yale.edu/collections/objects/5748

Ceiling Tile with Heliodoros, an Actuarius ca. A.D. 200–256 Clay with painted plaster 30.5 × 44 × 6.7 cm (12 × 17 5/16 × 2 5/8 in.) Yale-French Excavations at Dura-Europos 1933.292 This tile from the ceiling of a house bears a Greek inscription that identifies the bearded man by name, Heliodoros, and occupation, actuarius (an official responsible for distribution of wages in the Roman military). The use of Greek to identify a Roman official is typical of the multicultural environment at Dura-Europos. The style and technique of the figure—the frontal pose, large eyes, subtle shading, and earth-toned pigments—recall other painted decoration in the city’s buildings. Culture: Syrian, Dura-Europos Period: Roman (3rd century A.D.) Classification: Paintings Provenance: Excavated by the Yale-French Excavations at Dura-Europos (block L7 A31, House of the Scribes), present-day Syria, 1928–37; Yale University Art Gallery, New Haven, Conn. Bibliography: Michael I. Rostovtzeff, Dura-Europos and Its Art, 1st (Oxford: Oxford University Press, 1938), 83, pl. 15:1, ill. Alan Shestack, ed., Yale University Art Gallery Selections (New Haven, Conn.: Yale University Art Gallery, 1983), 18–19, ill. Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 271, ill. Susan B. Matheson, Art for Yale: A History of the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2001), 114, fig. 111. Simon T. James, The Excavations at Dura-Europos,1928 to 1937: Final Report VII, 7 (London: The British Museum Press, 2004), xxvi, 40, pl. 3. Lisa R. Brody and Gail Hoffman, eds., Dura-Europos: Crossroads of Antiquity (Boston: McMullen Museum of Art, 2011), 356, no. 49, pl. 49, ill. cover. Jennifer Chi and Sebastian Heath, eds., Edge of Empires: Pagans, Jews, and Christians at Roman Dura-Europos, exh. cat. (New York: Institute for the Study of the Ancient World, 2011), 50, no. 15, fig. 2–14. Text from: artgallery.yale.edu/collections/objects/5748

Mosaic Floor with Views of Alexandria and Memphis ca. A.D. 540 Mosaic: limestone tesserae 396.25 × 609.6 cm (156 × 240 in.) (1932.1735 f): 49.53 × 48.9 × 4.13 cm(19 1/2 × 19 1/4 × 1 5/8 in.) The Yale-British School Excavations at Gerasa 1932.1735 The Egyptian cities of Alexandria (left) and Memphis (right) are depicted here surrounded by tall date palms and lush, aquatic plants, the flora of the Nile. The high, turreted walls and the architecture within are depicted in the typical Byzantine style: a combination of bird’s-eye and perspective views. The church of Saints Peter and Paul, where this mosaic once lay, and its founder, Bishop Anastasius, are mentioned in the Greek inscription at center. Geography: Excavated in Gerasa, Jordan Culture: Gerasa (Jordan) Period: Early Byzantine Classification: Mosaic Provenance: Excavated by the Yale-British School Excavations at Gerasa (Church of SS. Peter and Paul), present-day Jordan, 1928–34; Yale University Art Gallery, New Haven, Conn. Bibliography: Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 273, ill. Jerry Podany and Susan B. Matheson, “Urban Renewal: The Conservation of a City Mosaic from Ancient Gerasa,” Yale University Art Gallery Bulletin (1999): 20–31, fig. 1, 5–9. Susan B. Matheson, Art for Yale: A History of the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2001), 111–12, fig. 105. Lisa R. Brody et al., “A Floor Mosaic from Gerasa,” Yale University Art Gallery Bulletin (2010): 80–83, fig. 1–4. Helen C. Evans and Brandi Ratliff, Byzantium and Islam: Age of Transition, 7th–9th Century, exh. cat. (New York: The Metropolitan Museum of Art, 2012), 12, fig. 9. Lisa R. Brody and Gail Hoffman, eds., Roman in the Provinces: Art on the Periphery of Empire (Chestnut Hill, Mass.: McMullen Museum of Art, 2014), 4, 238, no. 3, pl. 3, fig. 1.2. Text from: artgallery.yale.edu/collections/objects/51363

Mosaic Floor with Views of Alexandria and Memphis ca. A.D. 540 Mosaic: limestone tesserae 396.25 × 609.6 cm (156 × 240 in.) (1932.1735 f): 49.53 × 48.9 × 4.13 cm(19 1/2 × 19 1/4 × 1 5/8 in.) The Yale-British School Excavations at Gerasa 1932.1735 The Egyptian cities of Alexandria (left) and Memphis (right) are depicted here surrounded by tall date palms and lush, aquatic plants, the flora of the Nile. The high, turreted walls and the architecture within are depicted in the typical Byzantine style: a combination of bird’s-eye and perspective views. The church of Saints Peter and Paul, where this mosaic once lay, and its founder, Bishop Anastasius, are mentioned in the Greek inscription at center. Geography: Excavated in Gerasa, Jordan Culture: Gerasa (Jordan) Period: Early Byzantine Classification: Mosaic Provenance: Excavated by the Yale-British School Excavations at Gerasa (Church of SS. Peter and Paul), present-day Jordan, 1928–34; Yale University Art Gallery, New Haven, Conn. Bibliography: Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 273, ill. Jerry Podany and Susan B. Matheson, “Urban Renewal: The Conservation of a City Mosaic from Ancient Gerasa,” Yale University Art Gallery Bulletin (1999): 20–31, fig. 1, 5–9. Susan B. Matheson, Art for Yale: A History of the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2001), 111–12, fig. 105. Lisa R. Brody et al., “A Floor Mosaic from Gerasa,” Yale University Art Gallery Bulletin (2010): 80–83, fig. 1–4. Helen C. Evans and Brandi Ratliff, Byzantium and Islam: Age of Transition, 7th–9th Century, exh. cat. (New York: The Metropolitan Museum of Art, 2012), 12, fig. 9. Lisa R. Brody and Gail Hoffman, eds., Roman in the Provinces: Art on the Periphery of Empire (Chestnut Hill, Mass.: McMullen Museum of Art, 2014), 4, 238, no. 3, pl. 3, fig. 1.2. Text from: artgallery.yale.edu/collections/objects/51363

Mosaic Floor with Views of Alexandria and Memphis ca. A.D. 540 Mosaic: limestone tesserae 396.25 × 609.6 cm (156 × 240 in.) (1932.1735 f): 49.53 × 48.9 × 4.13 cm(19 1/2 × 19 1/4 × 1 5/8 in.) The Yale-British School Excavations at Gerasa 1932.1735 The Egyptian cities of Alexandria (left) and Memphis (right) are depicted here surrounded by tall date palms and lush, aquatic plants, the flora of the Nile. The high, turreted walls and the architecture within are depicted in the typical Byzantine style: a combination of bird’s-eye and perspective views. The church of Saints Peter and Paul, where this mosaic once lay, and its founder, Bishop Anastasius, are mentioned in the Greek inscription at center. Geography: Excavated in Gerasa, Jordan Culture: Gerasa (Jordan) Period: Early Byzantine Classification: Mosaic Provenance: Excavated by the Yale-British School Excavations at Gerasa (Church of SS. Peter and Paul), present-day Jordan, 1928–34; Yale University Art Gallery, New Haven, Conn. Bibliography: Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 273, ill. Jerry Podany and Susan B. Matheson, “Urban Renewal: The Conservation of a City Mosaic from Ancient Gerasa,” Yale University Art Gallery Bulletin (1999): 20–31, fig. 1, 5–9. Susan B. Matheson, Art for Yale: A History of the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2001), 111–12, fig. 105. Lisa R. Brody et al., “A Floor Mosaic from Gerasa,” Yale University Art Gallery Bulletin (2010): 80–83, fig. 1–4. Helen C. Evans and Brandi Ratliff, Byzantium and Islam: Age of Transition, 7th–9th Century, exh. cat. (New York: The Metropolitan Museum of Art, 2012), 12, fig. 9. Lisa R. Brody and Gail Hoffman, eds., Roman in the Provinces: Art on the Periphery of Empire (Chestnut Hill, Mass.: McMullen Museum of Art, 2014), 4, 238, no. 3, pl. 3, fig. 1.2. Text from: artgallery.yale.edu/collections/objects/51363

Mosaic Floor with Views of Alexandria and Memphis ca. A.D. 540 Mosaic: limestone tesserae 396.25 × 609.6 cm (156 × 240 in.) (1932.1735 f): 49.53 × 48.9 × 4.13 cm(19 1/2 × 19 1/4 × 1 5/8 in.) The Yale-British School Excavations at Gerasa 1932.1735 The Egyptian cities of Alexandria (left) and Memphis (right) are depicted here surrounded by tall date palms and lush, aquatic plants, the flora of the Nile. The high, turreted walls and the architecture within are depicted in the typical Byzantine style: a combination of bird’s-eye and perspective views. The church of Saints Peter and Paul, where this mosaic once lay, and its founder, Bishop Anastasius, are mentioned in the Greek inscription at center. Geography: Excavated in Gerasa, Jordan Culture: Gerasa (Jordan) Period: Early Byzantine Classification: Mosaic Provenance: Excavated by the Yale-British School Excavations at Gerasa (Church of SS. Peter and Paul), present-day Jordan, 1928–34; Yale University Art Gallery, New Haven, Conn. Bibliography: Handbook of the Collections, exh. cat. (New Haven, Conn.: Yale University Art Gallery, 1992), 273, ill. Jerry Podany and Susan B. Matheson, “Urban Renewal: The Conservation of a City Mosaic from Ancient Gerasa,” Yale University Art Gallery Bulletin (1999): 20–31, fig. 1, 5–9. Susan B. Matheson, Art for Yale: A History of the Yale University Art Gallery (New Haven, Conn.: Yale University Art Gallery, 2001), 111–12, fig. 105. Lisa R. Brody et al., “A Floor Mosaic from Gerasa,” Yale University Art Gallery Bulletin (2010): 80–83, fig. 1–4. Helen C. Evans and Brandi Ratliff, Byzantium and Islam: Age of Transition, 7th–9th Century, exh. cat. (New York: The Metropolitan Museum of Art, 2012), 12, fig. 9. Lisa R. Brody and Gail Hoffman, eds., Roman in the Provinces: Art on the Periphery of Empire (Chestnut Hill, Mass.: McMullen Museum of Art, 2014), 4, 238, no. 3, pl. 3, fig. 1.2. Text from: artgallery.yale.edu/collections/objects/51363