http://collections.mfa.org/collections/315231/objects/rdfMFA Images: Portraiturehttp://collections.mfa.org/internal/media/dispatcher/1028249/resize%3Aformat%3Dfullhttp://collections.mfa.org/internal/media/dispatcher/1050073/resize%3Aformat%3DfullAbraham Lincoln1865William Morris HuntOil on panelhttp://collections.mfa.org/objects/31741/rdfhttp://collections.mfa.org/internal/media/dispatcher/738093/resize%3Aformat%3DfullAlexander Hamilton1806John TrumbullOil on canvashttp://collections.mfa.org/objects/31047/rdfhttp://collections.mfa.org/internal/media/dispatcher/1150664/resize%3Aformat%3DfullArtist in His Studioabout 1628Rembrandt Harmensz. van RijnOil on panelhttp://collections.mfa.org/objects/32665/rdfhttp://collections.mfa.org/internal/media/dispatcher/766032/resize%3Aformat%3DfullThe Artist's Mother, Head and Bust: Three Quarters Right1628Rembrandt Harmensz. van RijnEtchinghttp://collections.mfa.org/objects/106270/rdfhttp://collections.mfa.org/internal/media/dispatcher/757229/resize%3Aformat%3DfullBearded male headabout 2nd century B.C.–1st century A.D.Alabaster with inlaid eyes of limestone and colored stone and hair of plasterAlabaster head of beared man. Carved plaster hair. Inlaid limestone eyes with inlaid obsidian pupils; one pupil inlay missing. Inlay hole below lips and above the chin.Horace and Florence Mayer Fundhttp://collections.mfa.org/objects/315579/rdfhttp://collections.mfa.org/internal/media/dispatcher/1090745/resize%3Aformat%3DfullBocca Baciata (Lips That Have Been Kissed)1859Dante Gabriel RossettiOil on panelhttp://collections.mfa.org/objects/34360/rdfhttp://collections.mfa.org/internal/media/dispatcher/686886/resize%3Aformat%3DfullThe Bone Player1856William Sidney MountOil on canvashttp://collections.mfa.org/objects/33207/rdfhttp://collections.mfa.org/internal/media/dispatcher/840278/resize%3Aformat%3DfullA Boy with a Flying Squirrel (Henry Pelham)1765John Singleton CopleyOil on canvashttp://collections.mfa.org/objects/34280/rdfhttp://collections.mfa.org/internal/media/dispatcher/732231/resize%3Aformat%3DfullBust of an older man1st century B.C.TerracottaBust of a mature man slightly turned to the right with a healed wound on the left side of forehead and a mole below the left eye. Captured details of the skin texture and sagging flesh indicate that the face from the top of the forehead to the base of the neck was taken from life with the sitter in vertical position. The nose, ears and front of the neck were cast separately and attached. Portions, such as the eyebrows and eyes, were reworked by hand. The rest was sculpted by hand in several sections: nape and sides of the neck, back of the head, and bust. A dark slip covers the entire surface.The bust is in excellent condition, except for a few minor surface losses and a larger break at the back of the neck.Thermoluminescence has been performed on the bust twice, in 1997 and 2002, indicating that the clay was fired between 700 BC and AD 300. http://collections.mfa.org/objects/155696/rdfhttp://collections.mfa.org/internal/media/dispatcher/765616/resize%3Aformat%3DfullBust of an Old Man with a Fur Cap and Flowing Beardabout 1631Rembrandt Harmensz. van RijnEtchinghttp://collections.mfa.org/objects/106496/rdfhttp://collections.mfa.org/internal/media/dispatcher/1541018/resize%3Aformat%3DfullBust of a young boyabout A.D. 50Marble, seemingly from the Greek islandsDraped bust of a young boy, probably two or three years old, with the head slightly turned to the right. The hair is combed over the forehead in straight bangs. The mouth is slightly open and the small chin hides a fold underneath. The bust was probably inserted in a herm as indicated by the tenon and plaster visible on the underside.Portraits of small children were popular in the Julio-Claudian period, but the fact that the bust is draped and includes more of the breast than is usual suggests that the portrait is to be dated in the later period. Portraits of the young Nero about A.D. 50 parallel this likeness of an unknown child in arrangement of the hair, drapery, and in stylistic details. Only the tip of the nose is missing; the edge of the drapery is chipped and the cheeks and right eyebrow show slight damage. The shiny, slightly pitted surface indicates that the bust was treated with acid to remove thick, brown burial accretions still visible at the back of the head and under the bust. The locks at the nape and back left side of the head were recut in antiquity.http://collections.mfa.org/objects/151336/rdfhttp://collections.mfa.org/internal/media/dispatcher/983563/resize%3Aformat%3DfullBust of Cleopatraabout 1519–22Pier Jacopo Alari BonacolsiMetal; bronze, with traces of gildingPatinated black surface (with bronze shining through), and traces of gilding. Life-size bust with head turned and bent, eyes downcast, Classical face, wavy hair. Crown and serpent on base identify it as Cleopatra. Diadem, two buttons at top of gown.http://collections.mfa.org/objects/58913/rdfhttp://collections.mfa.org/internal/media/dispatcher/1121731/resize%3Aformat%3DfullBust of ElagabalusA.D. 218–222Marble from Göktepe, Turkey (near Aphrodisias)Bust of the Emperor Elagabalus. The length of the bus extends to mid-chest and includes the shoulders and upper arms. Elagabalus is depicted as a clean-shaven young man with a circular face, full cheeks, small mouth with full lips, and narrow almond-shaped eyes framed by heavy lids. The head is turned gently to the right and the gaze is directed away from the viewer. The hair of his eyebrows are lightly feathered. He has a short but wide forehead. His hair is worn short, conforming to the shape of his skull, and is composed of short comma-shaped locks. He wears a style of toga known as the toga contabulata. It is distinguished by a horizontal band of stacked drapery that runs from about mid-chest to over the left shoulder.Most of the nose is missing, from mid ridge to the right nostril. There is a break in the right shoulder that goes through to the back and extends toward the left shoulder. There is also a second break closer to the end of the right shoulder. Both breaks have been repaired. Patches of a high polish are visible near the temples, cheeks, and throughout the drapery folds. There are also patches of discoloration and rootmarks on the face, as well as reddish discolorations on the right chest and in the folds over the right arm. The base and tabula are not original.Scientific Analysis:University of South Florida Lab No. 8439: Isotope ratios - delta13C +2.6 / delta18O -2.7. Attribution - Göktepe 3-4, Turkey (near Aphrodisias). Justification - C and O isotopes, fine grain, pure white, considerable translucencehttp://collections.mfa.org/objects/155947/rdfhttp://collections.mfa.org/internal/media/dispatcher/797938/resize%3Aformat%3DfullBust of Prince Ankhhaf2520–2494 B.C.Painted limestoneIn ancient Egypt, artists almost never created true portraits. This bust of Ankhhaf, therefore, breaks the rule. It is made of limestone covered with a thin layer of plaster, into which details have been modeled by the hand of a master. Rather than a stylized representation, the face is of an individual. From inscriptions in his tomb, we know that Ankhhaf was the son of a king, probably Sneferu, brother of another, Khufu, and that he served Khafre as vizier and overseer of works. In this last capacity, he may have overseen the building of the second pyramid and carving of the sphinx.Ankhhaf's features are those of a mature man. His skull shows a receding hairline. His eyelids droop slightly over eyes originally painted white with brown pupils. Puffy pouches are rendered underneath. Diagonal furrows set off a stern mouth. Apparently, he once had a short beard made from a separate piece of plaster. It was lost in antiquity, as were his ears. His gaze is that of a commanding and willful man, someone who was accustomed to having his orders obeyed. It was the way he wanted to be remembered for eternity.Ankhhaf's mastaba was the largest in the great Eastern Cemetery at Giza. His bust was installed in a mudbrick chapel attached to the east side of the tomb and oriented so that it faced the chapel's entryway. The chapel walls were covered in exquisitely modeled low relief. It has been suggested that Ankhhaf's arms were sculpted on the low pedestal on which he sat, thereby making him appear even more lifelike. Passersby left more than ninety models of food and drink for Ankhhaf to enjoy in the afterlife. Ankhhaf is unique, and by the terms of the Museum's contract with the Egyptian government, he should have gone to the Cairo Museum. However, he was awarded to Boston by the Antiquities Service in gratitude for the Harvard-Boston Expedition's painstaking work to excavate and restore objects from the tomb of Queen Hetepheres.http://collections.mfa.org/objects/45982/rdfhttp://collections.mfa.org/internal/media/dispatcher/1000973/resize%3Aformat%3DfullCameo with Livia holding a bust of Augustus (?)A.D. 14–37TurquoiseBust of Livia in the guise of Venus Genetrix, with closely clinging drapery slipping off her left shoulder. Beside her is a youthful male head, which must originally have belonged to a bust or full-length figure, alternately identified as a bust of the deified Augustus, or as one of her sons, Tiberius or Drusus I. The cameo has been set into a modern setting. The lower part of the gem is damaged, and a portion of the original has clearly been lost.http://collections.mfa.org/objects/155690/rdfhttp://collections.mfa.org/internal/media/dispatcher/1192938/resize%3Aformat%3DfullCharles Dickens1842Francis AlexanderOil on canvashttp://collections.mfa.org/objects/32105/rdfhttp://collections.mfa.org/internal/media/dispatcher/812492/resize%3Aformat%3DfullCleopatra17th centuryFrancesco BarattaStone, white marble streaked with grayMarble, white streaked with gray. Figure is seated on chair and clutches serpent to her breast. Dressed in robes and crown.http://collections.mfa.org/objects/128534/rdfhttp://collections.mfa.org/internal/media/dispatcher/743677/resize%3Aformat%3DfullColossal statue of King Menkaura (Mycerinus)2490–2472 B.C.Travertine (Egyptian alabaster)This colossal statue is one of the largest sculptures of the Pyramid Age. With a height of nearly 2.35 meters (8 feet), as restored, it features King Menkaura, who built the smallest of the three pyramids at Giza. His clothing and headgear clearly identify him as the ruler. He wears a wraparound kilt with a central projection, a garment worn only by kings until the end of the Old Kingdom. On his head is a royal kerchief, called a nemes. A cobra, known as a ureaus, is at his brow. This serpent was considered a deity and charged with protecting the king by wrapping itself around the royal brow and spitting its poisonous venom at the king's enemies. Menkaura's long straight beard, another symbol of royalty, was attached by means of a strap that was once painted on the statue's head. His right hand is clasped around a folded cloth, the ends of which extend onto his thigh. The king's expression is one of regal composure and supreme control. With its slightly bulging eyes, bulbous nose, painted moustache (now barely visible), set mouth with pouting lower lip and firm chin, the face is distinctive, but whether or not it represents a true portrait of Menkaura can never be known. This is the face of a mature adult, although neither face nor body displays any signs of aging. It has often been remarked that the head is unusually small for the king's body. Whatever the artist's reason for doing this, it certainly emphasizes the breadth of the figure's torso and enhances its image as omnipotent king.This statue sat in the deep niche at the back of Menkaura's Pyramid Temple located at the base of the eastern face of his pyramid until, for reasons unknown, it was deliberately destroyed. In January 1907, George Reisner found fragments from the shoulder and torso in a pit in that room and the large fragment comprising the hands, legs, and throne base in an adjacent corridor. Two months later, while excavating what proved to be a robber's trench nearby, Reisner found the head in nearly perfect condition. The different installations of Menkaura atthe MFA reflect the changing aesthetics of the Museum audience. When the fragments first arrived in the Museum, only the head and leg were exhibited. Two years later, additional torso pieces were added, and an abstract restoration of the missing torso elements was attempted. In 1925, at Reisner's request, the well-known watercolorist and artist for the expedition, Joseph Lindon Smith, sculpted the torso and buttocks in a more naturalistic manner. The restoration that visitors see today was accomplished in 1935 by Smith, assisted by Museum School student Charles Muskavitch.http://collections.mfa.org/objects/138532/rdfhttp://collections.mfa.org/internal/media/dispatcher/913781/resize%3Aformat%3DfullThe Daughters of Edward Darley Boit1882John Singer SargentOil on canvashttp://collections.mfa.org/objects/31782/rdfhttp://collections.mfa.org/internal/media/dispatcher/798244/resize%3Aformat%3DfullEdith, Lady Playfair (Edith Russell)1884John Singer SargentOil on canvashttp://collections.mfa.org/objects/32468/rdfhttp://collections.mfa.org/internal/media/dispatcher/1132772/resize%3Aformat%3DfullEvangelist WritingRembrandt Harmensz. van RijnOil on canvashttp://collections.mfa.org/objects/32684/rdfhttp://collections.mfa.org/internal/media/dispatcher/1745857/resize%3Aformat%3DfullFunerary maskA.D. 1–50Painted and gilded cartonnage, inlaid glasshttp://collections.mfa.org/objects/155963/rdfhttp://collections.mfa.org/internal/media/dispatcher/797836/resize%3Aformat%3DfullFunerary monument of Aththaia, daughter of MalchosA.D. 150–200LimestoneAn elaborate Palmyrene grave relief with a Greek inscription "Aththaia, daughter of Malchos, Happy One, Farewell." She wears a full tunic and a long himation (a cloak-like garment) which goes twice around her body and covers her head as a veil. Beneath this is a cloth headdress, an engraved diadem, and strings of jewels in her hair, which is looped back at the sides of her head to reveal pierced earlobes and elaborate pendant earrings. She also wears two necklaces, the outer one of gold chain with a sun-and-crescent pendant, two bracelets, three rings, and a large, circular brooch with three pendants hanging on her left breast. Her right hand is raised to her veil in a standard gesture for representations of women in Palmyrene funerary relief portraits; it may, as in Roman art, signal feminine modesty. Her left hand, supported by the sling of her himation, clasps a loop of fabric from her garment.Although the Greek inscription betrays her Hellenic affinities, her face and the details of carving are thoroughly Eastern. The incised relief line of the eyebrows and the rubbery folds of the neck foreshadow Graeco-Buddhist sculpture in northern and northwestern India, and central Asia. The carving of the chiton (tunic) and himation is expertly handled, but the number of tight, zigzag folds also foreshadows Late Antique and Byzantine art.The preservation is excellent, the surfaces being almost totally free of deterioration or deposit.http://collections.mfa.org/objects/151395/rdfhttp://collections.mfa.org/internal/media/dispatcher/1012918/resize%3Aformat%3DfullGeorge Washington1810Gilbert StuartOil on panelhttp://collections.mfa.org/objects/32340/rdfhttp://collections.mfa.org/internal/media/dispatcher/857380/resize%3Aformat%3DfullGeorge Washingtonafter 1824Rembrandt PealeOil on canvashttp://collections.mfa.org/objects/32377/rdfhttp://collections.mfa.org/internal/media/dispatcher/1539004/resize%3Aformat%3DfullGeorge Washingtonafter 1805Gilbert StuartOil on panelhttp://collections.mfa.org/objects/32853/rdfhttp://collections.mfa.org/internal/media/dispatcher/987005/resize%3Aformat%3DfullThe Great Good Man1942Marsden HartleyOil on Masonitehttp://collections.mfa.org/objects/35046/rdfhttp://collections.mfa.org/internal/media/dispatcher/1816497/resize%3Aformat%3DfullHead of Amenhotep III1390–1352 B.C.QuartziteEgypt in the reign of Amenhotep III was at the pinnacle of wealth and splendor, and the king was able to carry out a building program of unparalleled breadth and scope. Temples were erected up and down the Nile according to an organized and well thought-out plan, and these buildings were populated with thousands of statues of the king, large and small, in a variety of materials. This head, from a complete standing figure, is very fine and of the choicest material - quartzite - the stone the Egyptians called "wondrous."Even though the sculpture is uninscribed, there is no mistaking its identity, for it captures Amenhotep III's exotic features to perfection. He has long, narrow, almond-shaped eyes, their length extended by makeup lines, paralleled by the equally long, sweeping curves of his cosmetically enhanced eyebrows. His mouth is wide and voluptuous, with thick lips (the upper lip thicker than the lower). Not a line or blemish disturbs the Buddha-like serenity of his expression; there is not the slightest tension. When complete, the statue would have stood at least 182.9 centimeters tall (six feet), excluding the base. The tall crown would have had a knob at the top, as on the triad of Menkaura, Hathor, and the Hare nome. Enough remains to show that the king wore the long, plaited beard of a god, with a turned-up end. In all probability this was an Osiride statue, showing the king standing, arms crossed, feet together, in the same mummiform pose as Mentuhotep III as Osiris. To the ancient Egyptians, there was nothing inherently funereal about this pose; rather, it contained the promise of resurrection, for in a moment, the mummy would emerge from his wrappings, reborn, no longer motionless but free to move about as he desired. This type of statue was particularly appropriate for kings' funerary temples, their "mansions of millions of years," and indeed fragments of similar statues have been found at Amenhotep III's funerary temple at Kom el-Hetan, Thebes, where quartzite was lavishly employed.http://collections.mfa.org/objects/46184/rdfhttp://collections.mfa.org/internal/media/dispatcher/1030855/resize%3Aformat%3DfullHead of a priest (The Boston Green Head)380–332 B.C.GreywackeThis head of a priest, called the Boston Green Head, is the best portrait sculpture known from the Late Period. The face is wonderfully lifelike and individual. Light wavy lines indicate the furrows of his brow, and crow’s feet radiate from the outer corners of his eyes. The top of his nose has a pronounced bony ridge. Deep creases run from the edges of his nose to the corners of his mouth. Thin lips and a downturned mouth impart an expression of strength and determination. The slight wart on his left cheek is unique in Egyptian art and also introduces an element of asymmetry dear to the artists of the Late Period. The head has an illustrious provenance. In the spring of 1857, Napoleon Joseph Charles Paul Bonaparte, a cousin of Emperor Napoleon III known as Prince Plonplon, announced his intention to visit Egypt. Archduke Maximilian of Austria had recently returned from a Nile excursion with a handsome collection of Egyptian art, and the prince vowed to surpass him. Said Pasha, the passionately pro-French viceroy of Egypt, was determined to please his imperial guest. He charged Auguste Mariette, famed discoverer of the Serapeum, the burial place of the sacred Apis bulls, with the task of building a collection. To save time, Mariette was to explore the proposed itinerary, dig for antiquities, and then rebury them, thus facilitating their rediscovery by the prince. In the end, Plonplon canceled his reservations, but nonetheless received a selection of choice objects — including the Green Head as a souvenir of the trip that never was. Yet there were happy consequences, for as a result of his efforts and through the prince’s influence, Mariette was appointed Egypt’s first director of antiquities, a milestone in the care and protection of Egypt’s monuments.http://collections.mfa.org/objects/131018/rdfhttp://collections.mfa.org/internal/media/dispatcher/961553/resize%3Aformat%3DfullHead of a queen, from a sphinx1897–1878 B.C.QuartziteThe sloping shoulders on this female head indicate that it comes from the figure of a sphinx. Although her name is not preserved, the uraeus (sacred cobra) at her brow indicates that she is a queen. Stylized eyes combined with subtle modeling around the mouth enable us to attribute her more precisely as Khnemetneferhedjetweret (Weret for short), chief wife of Senwosret II. The distinctive modeling of the queen’s mature face represents a milestone in the development of Middle Kingdom portraiture that reaches its culmination in the head of a nobleman shown nearby.http://collections.mfa.org/objects/354969/rdfhttp://collections.mfa.org/internal/media/dispatcher/1028249/resize%3Aformat%3DfullHead of Augustusabout 37-54 or 117-130 A.D.Marble from the Greek island of ParosThis head of the Emperor Augustus was likely originally inserted into a full-length statue or a bust. Augustus’ face is blemish free and idealized. He has a broad forehead, aquiline nose, and narrow chin. There is a single crease running the length of his forehead. His almond-shaped eyes have thin lids with sharp edges and are set below the sharp ridge of his brow. The locks of hair are carved in a very three-dimensional style with several individual locks being undercut, giving the hair the impression of being particularly voluminous. The hair is rendered in the style of the Augustus Primaporta type, but an additional layer of hair has been added between the front locks and the section of hair near the crown. The upper lobes of the ears are broken. Each ear has two iron pins projecting from them, likely from attempts to restore the breaks. The head was worked for insertion into a full-length statue, as indicated by the five iron pins projecting from the edges of the bust. The head is carved out of Lychnites marble from the Greek island of Paros, one of the most prestigious and expensive marbles in antiquity. Restorations were made to this portrait during the 18th century.Scientific Analysis:University of South Florida Lab No. 8421: Isotope ratios - delta13C +4.8/ delta18O -3.7, Attribution - Paros 1, Marathi (Lychnites quarry). Justification - C and O isotopes, medium grainhttp://collections.mfa.org/objects/151325/rdfhttp://collections.mfa.org/internal/media/dispatcher/1030892/resize%3Aformat%3DfullHead of Gudea2144–2124 B.C.DioriteHead of Gudea in smooth, polished diorite, wearing a turban surrounded by tight, stylized curls.http://collections.mfa.org/objects/155973/rdfhttp://collections.mfa.org/internal/media/dispatcher/1663232/resize%3Aformat%3DfullHead of Hadrianabout A.D. 130Marble from the Greek island of ThasosThis over-life-sized head has been worked for insertion into either a full-length statue or a bust format. It depicts the Emperor Hadrian as a mature man. The shape of the head is square with a broad forehead. There are no blemishes or wrinkles on this face, save for two creases between the eyebrows. The eyes are almond-shaped with very thin lids set beneath a sharp browline. The nose is straight and broad, and the lips are thin. There are prominent naso-labial lines framing the moustache. The head has a neat moustache and full but short beard that conforms to the shape of the jawline. There is a full cap of curly hair, with eight broad curls framing the forehead. The locks of hair framing the face have been undercut. The back of the head has only been roughed out, indicating that it was not meant to be viewed from behind.The carving of the facial hair is very flat and the rendering of the eyes and brows is linear. This gives the face a schematic appearance. The head is in good condition with only some minor pock-marks on the flesh of the face.Scientific Analysis: Harvard Lab No. HI227: Isotope ratios - delta13C +3.66 / delta18O -2.64, MFA laboratory: email from Richard Newman to John Herrmann: "The marble is dolomite (determined by Raman spectroscopy). Some gypsum was also detected (from a fill pr surface alteration?)."Attribution - Thasos 3 (Cape Vathy), Justification - Medium grained marble, dolomite.http://collections.mfa.org/objects/151352/rdfhttp://collections.mfa.org/internal/media/dispatcher/795999/resize%3Aformat%3DfullHead of King Tutankhamen1336–1327 B.C.SandstoneIn 1922, Howard Carter discovered the tomb of Tutankhamen in the Valley of the Kings at Thebes. The smallest of the royal tombs, it was the only one that preserved its fabulous treasures virtually intact, the king's mummy resting undisturbed in its four coffins and four shrines nested one inside the other. Despite the unprecedented media coverage lavished on this sensational discovery, Tutankhamen remains a mysterious figure. He was probably born at el-Amarna, the new capital city built by Akhenaten. Succeeding to the throne as a boy of nine or ten years of age, Tutankhamen was taken in hand by the traditionalist clergy and made to repudiate Akhenaten's religious reforms. He abandoned el-Amarna, reopened the other temples, and showered attention on the old gods. He received little thanks for his piety, however, for later rulers continued to associate him with the heretic Akhenaten. His memory was suppressed, and his statues were appropriated by other rulers, notably Horemheb. When he was remembered at all, it was as a minor ruler. No wonder his tomb treasures caused such a sensation. So familiar are the "boy king's" gentle features now, that one immediately recognizes a sculpture as his even if it had been usurped by a later ruler or, as here, lacks an inscription. Traces of paint show that the nemes headdress was striped alternately blue and yellow as on the famous gold mask from his tomb.http://collections.mfa.org/objects/46183/rdfhttp://collections.mfa.org/internal/media/dispatcher/732255/resize%3Aformat%3DfullHead of Nectanebo II362–343 B.C.GranodioriteThis superb portrait of Egypt’s last native pharaoh is the product of three thousand years’ expertise in carving hard stone. The volumes of his helmet-shaped crown — the Blue Crown, or khepresh, are sleek and streamlined, almost aerodynamic. The artist reveled in the mottled texture of the stone, and polished it to a glistening sheen in a painstaking process reserved for the most important statues. Nectanebo II was known as the favorite of the gods, renowned for his piety, devotion to the sacred animal cults, lavish gifts of land, restoration of cult statues, and founding of new temples. Thirty sites from the Delta to Elephantine and as far west as Siwa attest to his extraordinary building activity: fourteen completely new structures plus extensions to existing sanctuaries and gifts of temple furniture. Such expenditures would have been remarkable at any time but were particularly so when the country was under constant threat of invasion from the Persians. In 343 B.C. Nectanebo II was defeated by the Persians. Nothing is known of his death. Legend has it that he escaped to Macedonia. A skilled magician, he appeared to Queen Olympias in her bedchamber disguised as her husband Philip, and sired the future Alexander the Great. It is certain that he was honored under the Ptolemies, for whom he provided an ideal role model as pharaoh. A cult that worshipped Nectanebo II as a divine falcon, the epitome of kingship, persisted at least until the reign of Ptolemy IV.http://collections.mfa.org/objects/272158/rdfhttp://collections.mfa.org/internal/media/dispatcher/754941/resize%3Aformat%3DfullHead of Queen Tiye1390–1352 B.C.PeridotiteBy the second year of his reign, Amenhotep III was married to his "great royal wife," Queen Tiye. We know more about Tiye than we do about any other Eighteenth-Dynasty queen with the exception of Hatshepsut who ruled as pharaoh. The names of Tiye's parents, both commoners, were proclaimed far and wide on a series of large commemorative scarabs and circulated throughout the empire - an unheard-of practice. No previous queen figured so prominently in her husband's lifetime. Just as many images of Amenhotep III show him as a god, this head of Queen Tiye shows her as a goddess. The attributes of the goddess Hathor - cow horns and sun disks - on her headdress emphasize her role as the king's divine, as well as earthly, partner. She even has the king's facial features. In contrast, the large enveloping wig, encircled by a floral wreath and a band of rosettes, is not a conventional goddess's hairdo but that of a contemporary lady of fashion. The combination of divine and queenly attributes intentionally blurs the lines between deity and mortal ruler.The head was acquired in the Sudan and is carved of Sudanese stone. It very likely comes from Amenhotep III's temple to his queen at Sedeinga in northern Sudan, where Tiye was worshipped as a form of Hathor. Her memory survives there today in the name of the neighboring village, which is locally known as Adey, from Hut Tiye, "the mansion of Tiye." The temple at Sedeinga was the pendant to Amenhotep III's own, larger temple at Soleb, about 14.5 kilometers (9 miles) to the south. Indeed, the emphasis on the queen's role as the king's divine female counterpart provided the model for Nefertiti in the reign of Amenhotep IV (Akhenaten) and anticipated the divine queens of the Ptolemaic Dynasty.http://collections.mfa.org/objects/46188/rdfhttp://collections.mfa.org/internal/media/dispatcher/672408/resize%3Aformat%3DfullHead of Washingtonabout 1795–98Charles Willson PealeOil on panelhttp://collections.mfa.org/objects/30874/rdfhttp://collections.mfa.org/internal/media/dispatcher/1255212/resize%3Aformat%3DfullHenry W. LongfellowJulia Margaret CameronPhotograph, carbon print (printed later)http://collections.mfa.org/objects/105091/rdfhttp://collections.mfa.org/internal/media/dispatcher/1016168/resize%3Aformat%3DfullHerm-bust of MenanderLate 1st century B.C. or early 1st century A.D.Marble (from Mt. Pentelikon near Athens)The very tip of the nose is missing. The surface on the right side of the face and neck is corroded and worn. The bust takes the form of a herm, with slots for wooden inserts, on which garlands could be hung. The neck is inclined toward the left shoulder, and the head is turned slightly to the subject's right. The man portrayed is in the prime of life.Menander was the leading writer of "New Comedy" whose dramas concerned lively, though highly unusual, domestic crises. His plots, known from Latin adaptations by Plautus and Terence, involve scheming slaves and kidnapped daughters. The model for this portrait, probably set up in the Theater of Dionysus at Athens, couples visionary intelligence and a lean, athletic grandeur in a way that is paralleled in portraits of Alexander the Great by Lysippus.Scientific Analysis: Harvard Lab No. HI226: Isotope ratios - delta13C +2.48 / delta18O -4.64, Attribution - Pentelikon, Justification - Fine grained marble, Petrographic Analysis - maximum grain size (1.1, 1.2 mm), accessory minerals (dolomite, quartz), Mg present.http://collections.mfa.org/objects/151124/rdfhttp://collections.mfa.org/internal/media/dispatcher/1000609/resize%3Aformat%3DfullHomerlate 1st century B.C. or 1st century A.D.Marble (probably from Mt. Pentelikon near Athens)Rare pseudo-portrait of Homer of late Hellenistic date, probably based on the earlier baroque style of the second century Pergamene School. This is an Invented image of the author of the Iliad and the Odyssey. Unruly hair, knitted brow, suggest the intensity of the sage; treatment of the eyes reflect the ancient tradition of the blind bard.The base of the neck is worked for insertion. Most of the nose is missing, as is a fragment from the right side of the neck. Otherwise, the preservation of the surface is almost perfect, and the sculpture has a clean, very light yellow appearance.http://collections.mfa.org/objects/151122/rdfhttp://collections.mfa.org/internal/media/dispatcher/1030883/resize%3Aformat%3DfullInfanta Maria Theresa1653Diego Rodríguez de Silva y VelázquezOil on canvashttp://collections.mfa.org/objects/31928/rdfhttp://collections.mfa.org/internal/media/dispatcher/928893/resize%3Aformat%3DfullJames Warren1761–63John Singleton CopleyOil on canvashttp://collections.mfa.org/objects/32408/rdfhttp://collections.mfa.org/internal/media/dispatcher/678975/resize%3Aformat%3DfullJohn Adamsafter 1783John Singleton CopleyOil on canvashttp://collections.mfa.org/objects/32006/rdfhttp://collections.mfa.org/internal/media/dispatcher/863532/resize%3Aformat%3DfullJohn Adamsabout 1830Horatio GreenoughMarblehttp://collections.mfa.org/objects/37560/rdfhttp://collections.mfa.org/internal/media/dispatcher/1208396/resize%3Aformat%3DfullJohn Adams1823Gilbert StuartOil on canvashttp://collections.mfa.org/objects/129249/rdfhttp://collections.mfa.org/internal/media/dispatcher/675169/resize%3Aformat%3DfullJohn La Farge1891Robert Wilton LockwoodOil on canvashttp://collections.mfa.org/objects/31345/rdfhttp://collections.mfa.org/internal/media/dispatcher/738092/resize%3Aformat%3DfullJohn Quincy Adams1796John Singleton CopleyOil on canvashttp://collections.mfa.org/objects/31586/rdfhttp://collections.mfa.org/internal/media/dispatcher/614135/resize%3Aformat%3DfullJohn Quincy Adams1828Horatio GreenoughMarblehttp://collections.mfa.org/objects/37561/rdfhttp://collections.mfa.org/internal/media/dispatcher/898156/resize%3Aformat%3DfullKing Menkaura (Mycerinus) and queen2490–2472 B.C.GreywackeAt twilight on January 18, 1910, a young boy beckoned George Reisner to the Menkaura Valley Temple. There, emerging from a robbers' pit into which it had been discarded were the tops of two heads of a pair statue, perfectly preserved and nearly life-size. This was the modern world's first glimpse of one of humankind's artistic masterworks, the statue of Menkaura and queen.The two figures stand side-by-side, gazing into eternity. He represents the epitome of kingship and the ideal human male form. She is the ideal female. He wears the nemes on his head, a long artificial beard, and a wraparound kilt with central tab, all of which identify him as king. In his hand he clasps what may be abbreviated forms of the symbols of his office. His high cheekbones, bulbous nose, slight furrows running diagonally from his nose to the corners of his mouth, and lower lip thrust out in a slight pout, may be seen on her as well, although her face has a feminine fleshiness, which his lacks. Traces of red paint remain on his face and black paint on her wig.His broad shoulders, taut torso, and muscular arms and legs, all modeled with subtlety and restraint, convey a latent strength. In contrast, her narrow shoulders and slim body, whose contours are apparent under her tight-fitting sheath dress, represent the Egyptian ideal of femininity. As is standard for sculptures of Egyptian men, his left foot is advanced, although all his weight remains on the right foot. Typically, Egyptian females are shown with both feet together, but here, the left foot is shown slightly forward. Although they stand together sharing a common base and back slab, and she embraces him, they remain aloof and share no emotion, either with the viewer or each other.Who is represented here? The base of the statue which is usually inscribed with the names and titles of the subject represented, was left unfinished and never received the final polish of most of the rest of the statue. Because it was found in Menkaura's Valley Temple and because it resembles other statues from the same findspot bearing his name, there is no doubt that the male figure is King Menkaura. Reisner suggested that the woman was Queen Khamerernebty II, the only of Menkaura's queens known by name. She, however, had only a mastaba tomb, while two unidentified queens of Menkaura had small pyramids. Others have suggested that she represents the goddess Hathor, although she exhibits no divine attributes. Because later kings are often shown with their mothers, still other scholars have suggested that the woman by Menkaura's side may be his mother. However, in private sculptures when a man and woman are shown together and their relationship is indicated, they are most often husband and wife. Because private sculpture is modeled after royal examples, this suggests that she is indeed one of Menkaura's queens, but ultimately, the name of the woman represented in this splendid sculpture may never be known.http://collections.mfa.org/objects/230/rdfhttp://collections.mfa.org/internal/media/dispatcher/988355/resize%3Aformat%3DfullMartha Dana (later Mrs. William Mercer)1899Anders Leonard ZornOil on canvashttp://collections.mfa.org/objects/32314/rdfhttp://collections.mfa.org/internal/media/dispatcher/609893/resize%3Aformat%3DfullMartha Pickman Rogers in Her Wedding Gown1850Southworth and HawesPhotograph, daguerreotypeWife of John Amory Codman; wearing wedding gown; married in 1850Mother of Martha Catherine Codmanhttp://collections.mfa.org/objects/168509/rdfhttp://collections.mfa.org/internal/media/dispatcher/1317492/resize%3Aformat%3DfullMask of Queen Malakaye664–653 B.C.Gilt silverGilded silver mask of Queen Malakaye who wears a striated wig and broadcollar.http://collections.mfa.org/objects/142605/rdfhttp://collections.mfa.org/internal/media/dispatcher/1112473/resize%3Aformat%3DfullThe Master Smith of Lyme Regis1895James Abbott McNeill WhistlerOil on canvashttp://collections.mfa.org/objects/31086/rdfhttp://collections.mfa.org/internal/media/dispatcher/1541210/resize%3Aformat%3DfullMercy Otis Warren (Mrs. James Warren)about 1763John Singleton CopleyOil on canvashttp://collections.mfa.org/objects/32409/rdfhttp://collections.mfa.org/internal/media/dispatcher/1007626/resize%3Aformat%3DfullMrs. Paul Revere (Rachel Walker)1813Gilbert StuartOil on panelhttp://collections.mfa.org/objects/32403/rdfhttp://collections.mfa.org/internal/media/dispatcher/807675/resize%3Aformat%3DfullNew Year's Card: Cleopatra, from the series Rekishi shashin1917Artist unknown, JapaneseColor lithograph; ink and metallic pigment on card stockhttp://collections.mfa.org/objects/398295/rdfhttp://collections.mfa.org/internal/media/dispatcher/1175332/resize%3Aformat%3DfullOld Man in PrayerRembrandt Harmensz. van RijnOil on panelhttp://collections.mfa.org/objects/31232/rdfhttp://collections.mfa.org/internal/media/dispatcher/1626094/resize%3Aformat%3DfullPaul Revere1768John Singleton CopleyOil on canvashttp://collections.mfa.org/objects/32401/rdfhttp://collections.mfa.org/internal/media/dispatcher/885995/resize%3Aformat%3DfullPaul Revere1813Gilbert StuartOil on panelhttp://collections.mfa.org/objects/32402/rdfhttp://collections.mfa.org/internal/media/dispatcher/1016165/resize%3Aformat%3DfullPortrait head of a late Ptolemaic ruler (Ptolemy IX?)Late 2nd–early 1st century B.C.Marble, probably from Paros, with added stuccoThe three times life-sized head, found at Memphis in what appears to have been a temple or shrine of the Hellenistic and Roman periods, was carved in Greek marble, with hair, the tip of the nose, and beard finished in stucco. Reddish ground color remains in the pupils of the eyes and on the lips. There are traces of stucco on the neck and possible touches of gold on the stucco in the hair. The marble surface below the beard was smoothed and polished, then scarred by diagonal incisions to hold the stucco, suggesting the portrait did not originally have a beard. The complete statue must have been about twelve feet high if seated, and well over fifteen feet if standing. The head comprises only a marble mask and neck, the area behind being hollowed out. With its large eyes, long face and aquiline nose, this is a powerful and unforgettable image of a semi-divine king. It continues, while altering and exaggerating, the tradition of late third century Ptolemaic portraiture. The head was converted from a slightly earlier, beardless image. It was cut down at the sides of the neck, and a beard and new hairline were created with stucco. Most scholars agree that the head bears closest resemblance to Ptolemy IX (reigned 116–107 and 88–80). The head was broken across the forehead into three pieces or very bad cracks, which have been rejoined and filled in. Marble, probably from the Greek island of Paros, retouched with stucco(J. B. Ward-Perkins: Parian marble, similar to that of Hadrian from Athribis)http://collections.mfa.org/objects/151135/rdfhttp://collections.mfa.org/internal/media/dispatcher/1016166/resize%3Aformat%3DfullPortrait head of Socratesabout A.D. 170–195Marble from Mt. Pentelikon near AthensThis smallish head of Socrates was probably a herm-portrait originally. The vigorous carving belongs to the Antonine period, although it was likely based on a prototype attributed to Lysippos from the fourth century B.C. Condition: The head is broken at the base of the neck. The nose, now missing, was repaired in antiquity with an iron pin and cement. There are a few modern pick marks on the face. Root marks and a yellow patina cover the surfaces.Scientific Analysis: Isotope ratios - delta13C +2.637 / delta18O -5.170, Attribution - Pentelikon, Justification (Petrographic Analysis) - maximum grain size (0.7mm), accessory minerals (muscovite).http://collections.mfa.org/objects/151123/rdfhttp://collections.mfa.org/internal/media/dispatcher/1583387/resize%3Aformat%3DfullPortrait of a Man Wearing a Black Hat1634Rembrandt Harmensz. van RijnOil on panelhttp://collections.mfa.org/objects/31041/rdfhttp://collections.mfa.org/internal/media/dispatcher/835254/resize%3Aformat%3DfullPortrait of a philosopher, probably Democritus or perhaps Hermarchusabout A.D. 50; Roman copy of a Greek originalMarble from Mt. Pentelikon near AthensThis portait seems to have been baseed on a Classical Greek original from the 4th century B.C. Portraits of this type have long been identified as Hermarchus, who became the head of the Epicurean school of philosophy at Athens after the death of Epicurus in 270 B.C. Recently, however, it has been argued that this rather dry and severe image must be earlier than the Early Hellenistic style portraits of the leading Epicureans - Epicurus himself, Hermarchus and Metrodorus, and that it represents Democritus, the forerunner of the Epicurean school. Democritus advanced the ideas that the world is made up of atoms and that the human spirit should seek tranquillity, moderation, pleasure and wisdom.Condition: Except for a large chip over his left eye and in the front bottom edge of the bust, and slight chipping down the surface of the nose and on the edges of the ears, this portrait is extremely well preserved. Its surface has been carefully cleaned. A trace of iron-colored stain still marks the neck and the drapery fold around it, which have been roughly worked for insertion into a bust, herm, or possibly a statue.Authenticity questioned by M. Moltesen (and A. Claridge ?), June 1998: reply from JH, July 2, 1998).Scientific Analysis: Harvard Lab No. HI737: Isotope ratios - delta13C +2.57 / delta18O -5.94, Attribution - Pentelikon, Justification - White, fine grained marble.http://collections.mfa.org/objects/151128/rdfhttp://collections.mfa.org/internal/media/dispatcher/1583386/resize%3Aformat%3DfullPortrait of a Woman Wearing a Gold Chain1634Rembrandt Harmensz. van RijnOil on panelhttp://collections.mfa.org/objects/31040/rdfhttp://collections.mfa.org/internal/media/dispatcher/801319/resize%3Aformat%3DfullPortrait of a Young Womanabout 1797Marie Louise Elisabeth Vigée-Le BrunOil on canvashttp://collections.mfa.org/objects/31704/rdfhttp://collections.mfa.org/internal/media/dispatcher/1447565/resize%3Aformat%3DfullPostman Joseph Roulin1888Vincent van GoghOil on canvashttp://collections.mfa.org/objects/32542/rdfhttp://collections.mfa.org/internal/media/dispatcher/1030856/resize%3Aformat%3DfullPotrait head ("Reserve head")2551–2528 B.C.LimestoneThis striking head represents one of the rare instances in which Egyptian artists sculpted a partial figure. Slightly over life-size, it is noteworthy for its austere beauty and serene gaze. Although perhaps not a true portrait like that of Ankhhaf (p. 78), it nevertheless exhibits a number of distinctive traits. Because of its round face, pronounced cheekbones and full, sensuous lips, George Reisner called it a "Negroid princess." He found it at the bottom of a tomb shaft in the Western Cemetery at Giza, where robbers most likely tossed it after plundering the burial chamber. A second head with a much more elongated face and facial features was found beside it, and Reisner considered that to be her Egyptian husband. Unfortunately the tomb itself provides no clues as to the racial identity or sex of either head. However, a touch of red paint remaining on the ear of this head hints that the subject was male rather than female, because red is the traditional male skin color on sculptures. To further complicate matters, the tomb only contained space for a single burial, so exactly which head belonged there is not clear. The function of this piece also remains enigmatic. Just over thirty such heads have been found, mostly at Giza, and mostly datable to the brief period in Dynasty 4 spanning the reigns of Khufu and Khafre. Although all are approximately the same size, each is distinctive. All have been found either in the burial chamber or at the bottom of the shaft leading to it. In contrast, other types of Old Kingdom sculptures have most often been found in chapels above ground attached to tombs, where they could magically partake of food offerings. Upon excavating one of these heads at the beginning of the twentieth century, a German archaeologist postulated that its purpose was to replace the head of the deceased should anything happen to it. Since that time, these sculptures have been known as "reserve heads." Over the years others have suggested different functions for these heads. Several archaeologists believe that they served as models or molds for other sculptures. The fact that many, excepting the present example, show signs of deliberate mutilation, led another scholar to theorize that they served a magical function during the burial ceremonies but were ritually "killed" to prevent them from subsequently harming the deceased. Whatever their purpose, they were in vogue for a very brief period, until they were superseded by face and body coverings in plaster and then cartonnage, a material consisting of layers of linen stiffened with gesso.http://collections.mfa.org/objects/141966/rdfhttp://collections.mfa.org/internal/media/dispatcher/829639/resize%3Aformat%3DfullPotrait head ("Reserve head") of Nofer2551–2494 B.C.LimestoneWe may not know exactly what Nofer looked like, but we can be sure that he had a large aquiline nose. This aspect is featured prominently on the north doorjamb from his chapel as well as on the reserve head found at the bottom of the tomb's shaft. The scale with which Nofer is represented on the walls - three times bigger than other figures - and the fourteen different offices enumerated there demonstrate that he was a prominent official in Dynasty 4. Among his titles, both real and honorary, were overseer of the treasury, overseer of the king's regalia, overseer of the arsenal, secretary of all the secrets of the king, estate manager, and royal scribe.While Nofer's relief is idealized, his reserve head offers a much more portraitlike representation of how he must have looked, with a somewhat elongated face, high cheekbones, and a square chin, in addition to his prominent nose. The rough cutting of the nose, ears, and hairline suggest that in this case, finer detailing might have been executed in plaster. Alternatively, it may represent intentional damage inflicted for reasons that remain unknown. George Reisner was not the first to enter Nofer's tomb in modern times when he excavated it in 1905. August Mariette, the first director of antiquities, found the tomb in 1857, and in the following year he presented the other (southern) doorjamb of the tomb chapel to the viceroy of Egypt, who, in turn, presented it to Prince Napoleon of France. From there it entered another French collection before it was purchased by the Louvre in 1868. Other relief-decorated blocks were plundered from the tomb prior to the MFA excavations and are currently in Rome, Copenhagen, and Birmingham (England).http://collections.mfa.org/objects/134891/rdfhttp://collections.mfa.org/internal/media/dispatcher/839875/resize%3Aformat%3DfullRelief of Hemiunu2551–2528 B.C.LimestoneLimestone fragment from tomb of Hemiunu: face and hieroglyphs in relief.http://collections.mfa.org/objects/146164/rdfhttp://collections.mfa.org/internal/media/dispatcher/1030854/resize%3Aformat%3DfullRelief of Nofer2551–2494 B.C.LimestoneWe may not know exactly what Nofer looked like, but we can be sure that he had a large aquiline nose. This aspect is featured prominently on the north doorjamb from his chapel as well as on the reserve head found at the bottom of the tomb's shaft. The scale with which Nofer is represented on the walls - three times bigger than other figures - and the fourteen different offices enumerated there demonstrate that he was a prominent official in Dynasty 4. Among his titles, both real and honorary, were overseer of the treasury, overseer of the king's regalia, overseer of the arsenal, secretary of all the secrets of the king, estate manager, and royal scribe.The exquisitely carved relief figure of Nofer on the doorjamb exhibits the traditional combination of profile and frontal views. Subtle modeling calls attention to the area under the eye and the bridge of the nose. Each individual curl of the wig is cut with precision. He wears a conventional kilt and holds a walking stick and baton of office as he faces out from inside the tomb toward the entrance. A row of scribes carrying the tools of their trade face into the tomb to meet him. George Reisner was not the first to enter Nofer's tomb in modern times when he excavated it in 1905. August Mariette, the first director of antiquities, found the tomb in 1857, and in the following year he presented the other (southern) doorjamb of the tomb chapel to the viceroy of Egypt, who, in turn, presented it to Prince Napoleon of France. From there it entered another French collection before it was purchased by the Louvre in 1868. Other relief-decorated blocks were plundered from the tomb prior to the MFA excavations and are currently in Rome, Copenhagen, and Birmingham (England).http://collections.mfa.org/objects/136183/rdfhttp://collections.mfa.org/internal/media/dispatcher/1337231/resize%3Aformat%3DfullSarcophagus and lid with husband and wife350–300 B.C.TravertineThe top of the cover takes the form of a bed with pillows, and a man and his wife embrace under a large sheet. She wears a complex earring and he a bracelet of twisted strands. There is no costume visible.On the long side below the man is a frieze with four pairs of Greeks and Amazons in combat. A bead-and-reel molding appears above, and simple pilasters frame the scenes on the corners. The other side, the long panel below the woman, has only a plain fillet molding above, suggesting it was the back of the sarcophagus proper. The frieze features two pairs of horsemen and foot soldiers in combat, with a warrior in fighting pose on foot in the center.On the left end (facing the frieze with Greeks and Amazons), two lions bring down a bull. The bead-and-reel molding is seen above. On the right end, two griffins are tearing into a fallen horse.The condition is, generally speaking, excellent, with some traces of a dark brown deposit and an overall light brown to yellow patina.The sarcophagus is inscribed for Thanchvil Tarnai and her husband Larth Tetnies, son of Arnth Tetnies and Ramtha Vishnai.http://collections.mfa.org/objects/151377/rdfhttp://collections.mfa.org/internal/media/dispatcher/1298121/resize%3Aformat%3DfullSarcophagus and lid with portraits of husband and wifeLate 4th–early 3rd century B.C.Volcanic tuffThe cover of the sarcophagus shows a man and woman lying nearly facing each other on a bed with pillows and a large sheet wrapped about them.The portrait of the man is of particular interest to the study of Etruscan (and Early Roman) portraiture, foreshadowing in many respects the Roman Republican portraiture which would, in considerable degree, devlop from the Etruscan form. The woman wears a double fillet or braids around her hair, a heart-shaped earring, and a long chiton with sleeves. It is difficult to tell what, if any, clothing the man was wearing, unless details of costume were added in paint. The pediments at each end of the lid have three ideal, female(?) heads in relief in rosettes.The front of the body shows a ceremony, interpreted by some as the couple's marriage and by others as their reunion in the afterlife. They clasp hands in the center, or (more precisely) he places his hand around her wrist, while he also holds a knotted staff in the left hand. Four attendants follow on either side. Those on the left comprise (from center to corner) a man with a tall staff, a lantern or jar suspended from it; a woman with a tray on her head and a pitcher in her lowered right hand; a woman with a large fan or flabellum and a situla in her lowered right hand; and a woman with a lyre and plectron. On the right appear a young man with a chair; another with a small stick or scepter; a third with a curved horn; and a woman with a wreath and double flutes.On the left end, two women, parasol over their heads, ride in a cart drawn by two mules driven by a male attendant. A winged spirit of death waves two snakes at them. On the right end, a bearded magistrate mounts a two-horse chariot, attended by a man with the pastoral staff or lituus.Since the man on the major front panel wears the Greek himation, it has been suggested that he is the heroized deceased, leading his wife to the underworld. If such be the case, she may have survived him to have her own separate procession on the left end, and the scene on the front thus may be taken as a symbolic "marriage" ceremony, the union with death and life in the underworld rather than merely in life on earth.The lid is broken across at the couple's legs and has been rejoined, with two small pieces missing. The body has cracks. There are minor chips and abrasions, but the general condition is excellent. The surfaces have a crusty brown patina.http://collections.mfa.org/objects/151378/rdfhttp://collections.mfa.org/internal/media/dispatcher/987002/resize%3Aformat%3DfullSelf Portrait1830Sarah GoodridgeWatercolor on ivoryhttp://collections.mfa.org/objects/31073/rdfhttp://collections.mfa.org/internal/media/dispatcher/933448/resize%3Aformat%3DfullSelf Portrait1866William Morris HuntOil on canvashttp://collections.mfa.org/objects/31088/rdfhttp://collections.mfa.org/internal/media/dispatcher/759378/resize%3Aformat%3DfullSelf Portrait Wearing a Soft Cap: Full Face, Head Onlyabout 1634Rembrandt Harmensz. van RijnEtchinghttp://collections.mfa.org/objects/241113/rdfhttp://collections.mfa.org/internal/media/dispatcher/1516211/resize%3Aformat%3DfullStatue of King Aspelta593–568 B.C.Granite gneissInscribed down column at back.http://collections.mfa.org/objects/145118/rdfhttp://collections.mfa.org/internal/media/dispatcher/898048/resize%3Aformat%3DfullStatue of King Senkamanisken643–623 B.C.Granite gneissStanding statue of Senkamanisken with the left foot striding forward and arms at his sides, with the fists clenched. Inscription in column at back. Crown, kilt, sandals and ornaments were originally covered in gold sheet.http://collections.mfa.org/objects/145119/rdfhttp://collections.mfa.org/internal/media/dispatcher/927799/resize%3Aformat%3DfullStatue of Lady Sennuwy1971–1926 B.C.GranodioriteEgyptian officials of the Middle Kingdom continued the practice of equipping their tombs with statues to house the ka of the tomb owner and to provide a focal point for the offering cult. Highly ranked officials also dedicated statues of themselves at sanctuaries of gods and deified ancestors. Following the experimental and idiosyncratic interlude of the First Intermediate Period, sculptors once again produced large-scale stone statues, returning to the basic forms and poses established in the Old Kingdom.This elegant seated statue of Lady Sennuwy of Asyut is one of the most superbly carved and beautifully proportioned sculptures from the Middle Kingdom. The unknown artist shaped and polished the hard, gray granodiorite with extraordinary skill, suggesting that he was trained in a royal workshop. He has portrayed Sennuwy as a slender, graceful young woman, dressed in the tightly fitting sheath dress that was fashionable at the time. The carefully modeled planes of the face, framed by a long, thick, striated wig, convey a serene confidence and timeless beauty. Such idealized, youthful, and placid images characterize the first half of Dynasty 12 and hark back to the art of the Old Kingdom. Sennuwy sits poised and attentive on a solid, blocklike chair, with her left hand resting flat on her lap and her right hand holding a lotus blossom, a symbol of rebirth. Inscribed on the sides and base of the chair are hieroglyphic texts declaring that she is venerated in the presence of Osiris and other deities associated with the afterlife.Sennuwy was the wife of a powerful provincial governor, Djefaihapi of Asyut, whose rock-cut tomb is the largest nonroyal tomb of the Middle Kingdom. Clearly, the couple had access to the finest artists and materials available. It is likely that this statue, along with a similar sculpture of Djefaihapi, was originally set up in the tomb chapel, although they may also have stood in a sanctuary. Both statues were discovered, however, far to the south at Kerma in Nubia, where they had been buried in the royal tumulus of a Nubian king who lived generations after Sennuwy's death. They must have been removed from their original location and exported to Nubia some three hundred years after they were made. Exactly how, why, and when these pieces of sculpture, along with numerous other Egyptian statues, found their way to Kerma, however, is still unknown.http://collections.mfa.org/objects/141967/rdfhttp://collections.mfa.org/internal/media/dispatcher/1494299/resize%3Aformat%3DfullStreet Singerabout 1862Edouard ManetOil on canvashttp://collections.mfa.org/objects/33971/rdfhttp://collections.mfa.org/internal/media/dispatcher/722301/resize%3Aformat%3DfullThomas Jefferson1789Jean-Antoine HoudonStone; marbleSaravezza marble on gray and white marble base. Head turned slightly to the sitter's left. Contemporary costume coat with standing collar, waistcoat with buttons, stock. Long hair tied at nape of neck; part of bow knot missing.http://collections.mfa.org/objects/58937/rdfhttp://collections.mfa.org/internal/media/dispatcher/1627364/resize%3Aformat%3DfullVictorine Meurentabout 1862Edouard ManetOil on canvashttp://collections.mfa.org/objects/32976/rdf