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This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book. ++++ The below data was compiled from various identification fields in the bibliographic record of this title. This data is provided as an additional tool in helping to ensure edition identification: ++++ On The Antique Painting In Encaustic Of Cleopatra: Discovered In 1818 John Sartain, Cosimo Ridolfi (marchese), Reinhold Schoener G. Gebbie & co., 1885 Encaustic painting
What did Cleopatra really look like? On the front cover is a replica of the original painting of Cleopatra, commissioned by Octavian Augustus on August 12, 30 BC. Furious at her suicide, which deprived him of his plans to make her take part in the Roman tradition of parading prisoners in chains through the streets of Rome, Octavian ordered the artist Timomachus (who had earlier painted Cleopatra for Mark Antony) to create a new portrait of the Queen at the moment of her death. The finished portrait, in the encaustic technique, was mounted on a cart that was drawn slowly along the route of the victory parade. It caused a sensation and was viewed by thousands. Later, Octavian had it placed in the Temple of Venus as an offering where it was kept on public display for many years. Many years later, the Emperor Hadrian acquired it for his extensive art collection that was housed at his villa in Tivoli, outside of Rome. The painting, at some time after Hadrian's death, was place in a wooden crate and hidden in a cellar at Hadrian's Villa. It lay hidden and forgotten until 1818 when it was rediscovered in a lot of scrap lumber. The painting, broken into 14 pieces, was painstakingly reassembled and copied. The image alongside was created by 3D computer modeling techniques combined with digital illustration, and is based on the Greco-Roman sculptures of Cleopatra, antique engravings of Octavian's Portrait of Cleopatra, and detailed eye-witness descriptions from writers, artists and reporters who viewed the painting when it toured Europe in the 19th century. This remarkable book tells the story of the painting and its history in full.
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What did Cleopatra really look like? On the front cover is a replica of the original painting of Cleopatra, commissioned by Octavian Augustus on August 12, 30 B.C. Furious at her suicide, which deprived him of his plans to make her take part in the Roman tradition of parading prisoners in chains through the streets of Rome, Octavian ordered the artist Timomachus (who had earlier painted Cleopatra for Mark Antony) to create a new portrait of the Queen at the moment of her death. The finished portrait, in the encaustic technique, was mounted on a cart that was drawn slowly along the route of the victory parade. It caused a sensation and was viewed by thousands. Later, Octavian had it placed in the Temple of Venus as an offering where it was kept on public display for many years. Many years later, the Emperor Hadrian acquired it for his extensive art collection that was housed at his villa in Tivoli, outside of Rome. The painting, at some time after Hadrian's death, was place in a wooden crate and hidden in a cellar at Hadrian's Villa. It lay hidden and forgotten until 1818 when it was rediscovered in a lot of scrap lumber. The painting, broken into 14 pieces, was painstakingly reassembled and copied. The image alongside was created by 3D computer modeling techniques combined with digital illustration, and is based on the Greco-Roman sculptures of Cleopatra, antique engravings of Octavian's Portrait of Cleopatra, and detailed eye-witness descriptions from writers, artists and reporters who viewed the painting when it toured Europe in the 19th century. This remarkable book tells the story of the painting and its history in full.
Unlike some other reproductions of classic texts (1) We have not used OCR(Optical Character Recognition), as this leads to bad quality books with introduced typos. (2) In books where there are images such as portraits, maps, sketches etc We have endeavoured to keep the quality of these images, so they represent accurately the original artefact. Although occasionally there may be certain imperfections with these old texts, we feel they deserve to be made available for future generations to enjoy.
In this beautifully illustrated book, we experience the synthesis of Cleopatra's and Rome's defining moments through surviving works of art and other remnants of what was once an opulent material culture. This culture best chronicles Cleopatra's legend and suggests her subtle but indelible mark on the art of imperial Rome at the critical moment of its inception.