Wendell Phillips, a young paleontologist and geologist, headed one of the largest archaeological expeditions to remote South Arabia (present-day Yemen) from 1949 to 1951. Accompanied by some of the leading scholars, scientists, and technicians of the day, Phillips was on a quest to uncover two ancient cities — Timna, the capital of the once-prosperous Qataban kingdom, and Marib, the reputed home of the legendary Queen of Sheba — that had flourished along the fabled incense road some 2,500 years earlier.
Phillips stands with Yemeni men, including Sheik Al-Barhi (center), a leader of the Bal Harith tribe, and a child in the desert. Courtesy American Foundation for the Study of ManExhibition Highlights
Through a selection of unearthed objects as well as film and photography shot by the expedition team, the exhibition highlights Phillips’s key finds, recreates his adventures (and misadventures), and conveys the thrill of discovery on this important great archaeological frontier.
Plaque with inscription and phiale held in protruding right hand Yemen; mid-1st century BCE Bronze Gift of The American Foundation for the Study of Man, Wendell and Merilyn Phillips Collection, S2013.2.203 On view will be eyewitness videos, photos, diaries and first-hand documents alongside over 80 of the most important documented collection of Yemeni artifacts outside of the country, dating from the 8th century BCE to 2nd century CE.
The exhibition will highlight a famed pair of striding Hellenistic bronze lions surmounted by a figure of Eros, the Greek god of love. Known as the “Lions of Timna,” the skillfully cast sculptural forms — once featured on Yemeni currency — exemplify the vibrant cultural exchange between the Qataban and Greek empires, and inscriptions on its base allow researchers to reconstruct the home it came from and explore familial relationships of its affluent owners.
Head of a woman (known as Miriam) Yemen; mid-1st century CE Alabaster, stucco and lapis lazuli Gift of The American Foundation for the Study of Man, Wendell and Merilyn Phillips Collection, S2013.2.44 Also featured is an iconic translucent alabaster head of a young woman, with lapis lazuli eyebrows and an Egyptian hairstyle. Unearthed in the cemetery of Timna, the head was named “Miriam” after the daughter of a member of the expedition.
Other excavated objects featured include precious incense burners, delicately carved alabaster ibexes, finely articulated funerary sculpture, and a wealth of inscriptions that offer unprecedented insight into the life and times of the ancient people of Arabia.
Where: The Arthur M. Sackler Gallery
When: Oct. 11, 2014 to June 7, 2015
Source: Freer Gallery of Art and Arthur M. Sackler Gallery [August 06, 2014]
The J. Paul Getty Museum today placed on view a Decree Relief with Antiochos and Herakles, the first Greek loan to arise from a 2011 framework for cultural cooperation between the Getty and the Hellenic Republic Ministry of Culture.
Decree Relief with Antiochos and Herakles, about 330 B.C. Greek; found in Athens. Marble. Lent by the National Archaeological Museum in Athens and the Hellenic Republic, Ministry of Culture and Tourism.On loan from the National Archaeological Museum in Athens, the marble relief bears a historical decree, dated to 330 B.C., which honors Prokleides, a military officer (taxiarch) in the Athenian army. The relief will be on view at the Getty Villa for three years in a second-floor gallery devoted to Religious Offerings.
The relief takes the form of a stele, a stone slab decorated with images and text, crowned with the figures of Herakles and his son Antiochos, who was the mythical hero of the tribe Antiochis. Herakles is depicted as an athletic nude, holding a club and the pelt of the Nemean Lion he vanquished, referring to the first of the twelve labors he had to perform. Seemingly the elder, Antiochos wears a dignified mantle and holds a staff (no longer visible, but probably added in pigment). Both father and son heroes were the subject of cult worship, and are shown standing within a small temple framed by columns and a pediment.
Written in ancient Greek below the figures, an inscription describes the honors bestowed upon Prokleides by his soldiers and comrades, all members of an elite infantry corps known as the epilektoi. This is the earliest known inscription referencing the epilektoi, a group of men bound together by their military service, participation in sacrifices and theatrical performances, and membership in the Athenian Council. According to the decree, Kephisokles of the village of Alopeke proposed the resolution to praise Prokleides, who “has well and with distinction taken care of security,” and crown him with a gold diadem worth at least 1,000 drachmas (an enormous sum, considering the average worker in classical Athens could support a family of four on one drachma a day).
Soon after arriving at the Getty, the stele was photographed using a technique that captures the object numerous times with varying degrees of raking light. The resulting composed image reveals the shallow lettering with unprecedented depth and clarity and enables a more accurate reading of the inscription. A transcription of the ancient Greek text, translation, and detail photography of the historical inscription accompanies the installation.
“The Antiochos relief commemorates the affection and respect of troops for their commanding officer,” explains Claire Lyons, acting senior curator of antiquities at the Getty Villa. “We are delighted that it will be on view at the Getty Villa in time for Memorial Day, when we honor the contributions of fallen soldiers to their communities and country.”
This long-term loan results from the Framework for Cultural Cooperation signed in September 2011, which provides for joint scholarship, research projects, loans, and exhibitions between the Getty and the Hellenic Republic. “As part of this framework of cooperation between the Hellenic Republic Ministry of Culture and the Getty Museum, we are pleased to have the Antiochos relief on display at the Getty Villa,” said Maria Vlazaki-Andreadaki, director general of archaeology in Athens. “We believe that this collaboration will promote classical studies in the United States and will spread the values and the spirit of ancient Greek civilization.”
Historical Background
The relief was discovered in 1922 in the foundations of a house in the Athenian neighborhood of Dourgouti. In antiquity, the area was known as Kynosarges and was the site of a public gymnasium and a sanctuary of Herakles, the greatest of the Greek heroes. Believed to have stood in this sanctuary, where several other inscriptions mentioning the tribe Antiochis were found, the relief was a votive dedication erected in a prominent public location befitting a successful military leader.
The Antiochos relief is a primary document of democracy, and the language of its inscription shows that voting and public speech were deeply ingrained in civic life two centuries after the foundation of democratic political institutions in Athens.
The creation of the Attic tribes was the most important feature of the revolutionary reorganization of Athenian politics that followed the overthrow of the tyrants in 508 B.C. In this system, ten tribes composed of approximately 3,000 citizens and their families were created. Each tribe was assigned the name of a mythical Athenian hero: Antiochos was the eponymous hero of the tribe Antiochis.
Drawn from villages in three distinct zones of the Athenian territory—the coast, the inland farming region, and the urban/suburban zone—the tribes represented the entire citizenry of Athens. Josiah Ober, Professor of Political Science and Classics at Stanford University, observes: “Imagine a reorganization of the United States that would require citizens from Maine, Texas, and California to work, fight, and feast together on a regular basis. The communities constituting the tribe of Antiochis included Alopeke, the philosopher Socrates’ home village—so we might even imagine that a descendant of Socrates as among the signatories to the decree.”
An island at the crossroads of the Mediterranean, Sicily occupied a pivotal place in antiquity between Greece, North Africa, and the Italian peninsula.
Statue of a Youth (The Mozia Charioteer), Sikeliote (Sicilian Greek), 470–460 B.C. Marble. Courtesy of the Servizio Parco archeologico eambientale presso le isole dello Stagnone e delle aree archeologiche di Marsala e dei Comuni limitrofi–Museo Archeologico Baglio Anselmi. By permission of the Regione Siciliana, Assessorato dei Beni Culturali e dell’Identita Siciliana. Dipartimento dei Beni Culturali e dell’Identita Siciliana. Sicily: Art and Invention between Greece and Rome, on view at the Getty Villa April 3–August 19, 2013, will showcase ancient Sicily as a major center of cultural innovation from the fifth to the third centuries B.C., when art, architecture, theater, poetry, philosophy, and science flourished and left an enduring stamp on mainland Greece and later on Rome.
“This is the first major exhibition to arise from the Getty’s 2010 Cultural Agreement with Sicily, presenting masterpieces that are among the most accomplished examples of ancient Greek art in the world,” said Timothy Potts, director of the J. Paul Getty Museum.
“We are especially thrilled to have on view the exceptional statue of a victorious Charioteer from Mozia that the Getty has recently conserved. This object is a unique expression of the marvelous artistry of Greek sculptors at the dawn of the Classical era.”
Sicily: Art and Invention between Greece and Rome, co-organized by the J. Paul Getty Museum, the Cleveland Museum of Art, and the Assessorato dei Beni Culturali e dell’Identita Siciliana, features some 150 objects, a major portion on loan from institutions in Sicily, including stone and bronze sculptures, vase-paintings, votive terracotta statuettes and reliefs, carved ivory, gold and silver metalwork, jewelry, inscriptions, architectural revetments, and coins.
“These splendid objects bear witness to the athletic and military victories, religious rituals, opulent lifestyles, and intellectual attainments of the Sicilian Greeks, which shaped Greek culture at its peak,” explains Claire Lyons, acting senior curator of antiquities at the J. Paul Getty Museum and curator of the exhibition.
The Mozia Charioteer
The Mozia Charioteer, widely considered one of the the finest surviving examples of Greek sculpture, serves as the exhibition’s centerpiece. Recently on view at the British Museum in London during the 2012 Summer Olympics, the statue has since undergone conservation treatment at the Getty Villa. Part of the Getty’s cultural agreement with Sicily, this 18-month collaborative conservation project involved remounting the sculpture and the provision of a seismic isolation base, which will accompany the object when it is reinstalled at the Whitaker Museum on the island of Mozia.
The triumphant Mozia Charioteer, discovered in 1976 on the island of Mozia in western Sicily, is believed to represent a charioteer who competed at Olympia on behalf of one of the Sicilian rulers. The extraordinary style of the sculpture, especially notable in the sinuous pleating of the long linen xystis that sheathes the figure’s athletic physique, is a tour-de-force of stone carving. Clearly a master of his craft, the sculptor was able to reveal the torso and limbs beneath the thin fabric. With its confident gaze and proud stance, this statue conveys the high level of originality and experimentation achieved by Greek sculptors working in Sicily.
The “Signing Masters”
Important evidence of Sicilian artistic innovation is also apparent in the exquisite coins of the time. Beginning in the late fifth century B.C., a group of Sicilian Greek coin engravers, mainly based in Syracuse, added their signatures to the dies used to stamp coins. Known as the “Signing Masters,” these remarkable craftsmen created extraordinary works of art on a miniature scale. Departing from the traditional profile view, they devised novel ways of representing the human body in a lively three-quarter perspective or striking frontal pose. This testimony of individual mastery of the medium is virtually exclusive to Sicilian Greek coins created around 400 B.C. Often abbreviated in tiny but legible script, the artists’ signatures are typically all but hidden in locks of hair or elements of jewelry.
Known as the “coin of coins,” the unique Aitna tetradrachm from the Royal Library of Belgium is one of the most precious ancient coins in the world. On view in the exhibition along with 50 other exceptionally crafted Sicilian Greek coins, the image on the tetradrachm depicts the head of Silenos on the obverse and on the reverse, Zeus enthroned with an eagle perched beside him, imagery that alludes to the cult of Zeus on Mt. Etna. Greek settlers and their gods
Sicily: Art and Invention between Greece and Rome will also examine how settlers from the Greek mainland brought their myths and religious practices to Sicily. To sanctify new colonies and maintain ties with mother cities, they built altars and temples to such gods as Apollo, the patron deity of colonists, as well as the deified hero Herakles. Included are terracotta heads of Apollo, Hades, and Persephone, created as cult or votive images of deities that played a central role in ancient Sicilian worship. The skillfully modeled clay, embellished with striking polychrome pigments, compares favorably with the most accomplished works in marble and bronze. An exceptional example of metalwork is a religious offering dish made of two and a half pounds of gold. Known as a phiale mesomphalos, the vessel is embossed from the center outward with bands of beechnuts, acorns, and bees above blossoms; the owner’s name —Damarchos, son of Achyris— is inscribed beneath the rim, together with its equivalent weight in gold coins.
The divine hero Herakles was also embraced by Greek settlers, who linked his deeds to their cities. Contrasting aspects of Herakles’ identity —peaceful healer, solitary herdsman, and violent aggressor— heightened the appeal of his cult among the men of rural Sicily, who tended flocks and worked as mercenary soldiers. Among the objects on view is a finely preserved bronze statuette of Herakles recovered from a river-bed in Contrada Cafeo (Modica), which suggests that a shrine to the hero was situated nearby.
Preeminent among the honored deities was Demeter, goddess of agriculture, and her daughter Persephone (or Kore). Sanctuaries of the goddesses dotted the island, but their cult was most enthusiastically embraced in central Sicily, where, according to myth, Kore descended to the Underworld as the bride of Hades. Depictions of these deities include a terracotta bust with a rare painted figural scene that may represent part of a ritual honoring or celebrating the goddesses, and a cult statuette disc overed near an altar in Gela together with an offering jug of carbonized seeds of grain.
Archimedes of Syracuse
A section of the exhibition will focus on Archimedes of Syracuse (about 287–212 B.C.), one of history’s foremost scientists and mathematicians. More than a millennium ahead of its time, his work laid the foundation for branches of math, physics, engineering, and even computer science. When Syracuse’s King Hieron II asked him to determine whether a crown was made of pure gold, Archimedes made his legendary deduction that a solid displaces a volume of liquid equal to its own volume, a discovery that supposedly caused the scientist to leap from his bath and run naked through the streets crying “Eureka” (“I have found it!”).
On view is a leaf from the Archimedes Palimpsest, the only surviving manuscript containing copies of Archimedes’ writings. The medieval prayer book that included this leaf was inked by a scribe onto recycled parchment that originally bore the theories of Archimedes. The pages were scraped clean before being overwritten, but with the use of advanced imaging technology, the original writing is visible. The leaf on view is a section of text from “Proposition 1” from Archimedes’ Method, a work integrating geometry and physics.
Literature on Sicilian art
Finally, the exhibition examines the reflections of literature in Sicilian visual arts. Many mainland Greeks became familiar with Sicily through the epic poetry of Homer, including Odysseus’s wanderings after the Trojan War, which took him to the western Mediterranean.
Often depicted in vase-painting and sculpture, Odysseus’s encounters with strange creatures like the Cyclops and Scylla were allegories for early colonial settlement and trading enterprises that spread Greek culture to distant, exotic regions. The pastoral genre created and perfected by the Syracusan poet Theokritos (about 300–after 260 B.C.) flourished as Sicily was falling under the dominion of Rome in the third century B.C. He is renowned for his Idylls (literally, “little pictures”), which paint nostalgic word-images of Sicilian country life from the point of view of a sophisticated urbanite. Theokritos’s rustic characters—including satyrs, shepherds, and the woodland deity Priapos—also populated the visual arts of the period, attesting to the appeal of rural fantasies during a time of civic turmoil. On extended loan from Syracuse, a life-size statue of the fertility god Priapos, the earliest such figure in Greek art will be featured in the exhibition. Like the Mozia Charioteer, it was also the subject of a collaborative conservation project undertaken by the Getty Museum.
The importance and popularity of Greek comedy and drama outside of Athens is evident in the theatrical figurines, masks and scenes on vases, many of which come from the island of Lipari. The celebrated “Father of Tragedy,” Aeschylus (Greek, 525–456 B.C.) traveled to Sicily on at least two occasions, where his plays found fertile ground in the strong local tradition of performance on the island.
On display is a terracotta mixing vessel with the earliest known depiction of the myth of Perseus and Andromeda, which likely reflects a performance of Sophocles’ Andromeda (about 450 B.C.). The Greek inscription painted above the figure of Perseus—“Euaion, the son of Aeschylus, is handsome”— names the actor, son of the great tragedian.
Rich harvests, bountiful seas, and a favorable trade location brought immense wealth to the Sicilian city-states, and the exhibition highlights their widespread reputation for luxurious lifestyles with five gilt-silver vessels, part of a larger group of fifteen. The silver treasure had been buried for safekeeping beneath the floor of a house in Morgantina during the Roman sack of the city in 211 B.C. The entire hoard comprises religious vessels as well as a set for the symposion, a convivial drinking party for men that was an important part of the social life of well-to-do Greeks.
Sicily: Art and Invention between Greece and Rome is the latest in a series of cooperative efforts between the Getty and the Sicili an Ministry of Culture and Sicilian Identity arising from a 2010 agreement that calls for a number of collaborative projects, including object conservation, seismic protection of collections, exhibitions, scholarly research, and conferences. Recent related projects include the 2010 loan of the Gela Krater, a monumental red-figured volute krater (wine mixing vessel) attributed to the Niobid Painter; The Agrigento Youth, a rare example of an early classical marble statue called a kouros (an idealized nude young man), loaned to the Getty from the Museo Archeologico Regionale in Agrigento (2010/2011); and most recently the loan of thirty-six objects from the sanctuaries of Demeter at Morgantina (2012/January 2013).
The exhibition is co-organized by the J. Paul Getty Museum, the Cleveland Museum of Art, and the Assessorato dei Beni Culturali e dell’Identita Siciliana, and celebrates 2013 as the Year of Italian Culture in the United States, an initiative of the Italian Ministry of Foreign Affairs, realized under the leadership of the President of the Republic of Italy.
All cultures throughout time have tried to honor and commemorate those they have lost. A new exhibit at the Oriental Institute Museum will show how the living cared for the dead, and how the ancients conceptualized the idea of the human soul in ancient Mesopotamia, Egypt and Israel/Palestine.
This stela with hieroglyphic text asks the living to leave food or to say prayers evoking food for a deceased man and his wife. (Egypt, ca. 2219–1995 B.C. OIM E16955) [Credit: Anna R. Ressman/Oriental Institute Museum]The exhibit, “In Remembrance of Me: Feasting with the Dead in the Ancient Middle East,” opens to the public April 8. The show is built around two themes: the regular offering of food and drink to nourish the dead in the afterlife, and the use of two- or three-dimensional effigies of the dead, often made of stone, to preserve their memory and provide a means of interaction between the living and the dead.
The Oriental Institute’s Neubauer Expedition to Zincirli, Turkey in 2008, during which an inscribed funerary monument was discovered, inspired the exhibit. The monument, which dates to about 735 B.C, is carved with an image of a man named Katumuwa seated before a table heaped with offerings and with a lengthy inscription in Aramaic—a language widely used in the ancient Middle East. The text proved to be the longest-known memorial inscription of its type.
The original Katumuwa stela, discovered by University of Chicago archaeologists, dates to about 735 B.C. (Rendering and reconstruction by Travis Saul, 2014) [Credit: Oriental Institute Museum]Until the discovery of the stela, scholars did not know about the practice of enacting annual sacrifices for the soul of the deceased. The discovery also revealed that the people of Zincirli, located in the ancient Syro-Hittite region of southeastern Turkey, believed Katumuwa’s spirit resided in the monument.
“The text gave us a whole new understanding of the ancient belief system in eastern Turkey and northern Syria. Although Katumuwa knew that the realm of the dead could be a cruel and lonely place, the rituals he describes that his family would enact on his behalf would give him a happy afterlife,” said exhibit curator Virginia R. Herrmann, PhD’11. Herrmann, now a visiting professor at Dartmouth College, was part of the team that discovered the stela and co-curated “In Remembrance of Me.”
Archaeologists Virginia R. Herrmann and Ben Thomas examine the Katumuwa stela at Zincirli, Turkey, shortly after its discovery in 2008 during an Oriental Institute expedition [Credit: Eudora Struble/Oriental Institute Museum]Before the discovery of the stela, it was not understood that, in eastern Turkey and northern Syria, such banquet scenes depicted on other monuments were special pleas to the viewer to make annual offerings of animal sacrifices and grapes or wine. Those offerings were directed not only to the deceased, but also to local gods. The biblical commandment to “Honor your father and your mother, that your days may be long” (Exodus 20:12), is rooted in the tradition expressed by the Katumuwa text.
The text also revealed that the rituals took place not just at the grave or in the home, but in a private mortuary chapel next door to a temple—exactly the setting where the Katumuwa stela was discovered. The stela itself is in the Gaziantep Museum in eastern Turkey, but a precise facsimile of its front has been produced for the exhibit.
This door plaque contains a scene of ritual feasting. (Khafajeh, Iraq, ca. 2600–2350 B.C. OIM A12417) [Credit: Anna R. Ressman/Oriental Institute Museum]The exhibit also features a video produced by video artist Travis Saul, MFA’12, in collaboration with Herrmann and her colleague and exhibit co-curator, Oriental Institute Associate Professor David Schloen. It provides background on the site of Zincirli, the discovery of the stela, a recreation of the rituals enacted to commemorate the soul of Katumuwa, and a recitation of the text in Aramaic and English.
Rituals of remembrance
Other sections of the exhibit explore how commemoration and communication with the dead was enacted, the importance of banquet scenes, and how the concept of the soul differed in ancient Egypt, Iraq and Israel/Palestine.
These vessels were from a funerary ritual, enacted at the time of Tutankhamun’s funeral. (Luxor, Egypt, ca. 1327 B.C.) [Credit: Anna R. Ressman/Oriental Institute Museum]Artifacts include a stone plaque from Mesopotamia that shows a banquet, an Egyptian wooden model of men preparing food that was thought to provide food eternally for the deceased, and stone schematic human figures that living relatives thought to have contained the soul of the dead. Loaned objects were provided by the University of Pennsylvania’s Museum of Archaeology and the Metropolitan Museum of Art, and include a stela of a woman of a type similar to that of Katumuwa.
Rituals of remembrance of lost loved ones—from memorial services to Day of the Dead celebrations in Latin America and even the “funeral selfie” phenomenon—continue to be an important aspect of many cultures.
This stela shows a deceased man being attended by family members, part of an ancestor cult. (Luxor, Egypt, ca. 1295–1069 B.C. OIM E14287) [Credit: Anna R. Ressman/Oriental Institute Museum]Understanding how the ancients considered and prepared for mortality and worked to preserve the memories of their family members raises questions about how contemporary society contends with these same issues. An epilogue to the exhibit features modern objects of commemoration from many nations, reminding the visitor that rituals that link the living and the dead remain a part of our lives.
Jack Green, chief curator of the Oriental Institute Museum, said, “In coordinating this exhibit, we found that although death can often be a taboo topic in Western society, there are plenty of examples today that commemorate the dead through festive and colorful celebrations—the Dia de Muertos being just one example.”
Source: Oriental Institute of the University of Chicago [March 13, 2014]
The new “Vikings” exhibition at Discovery Times Square is, in a sense, built around something that isn’t there.
The exhibition, which opens on Friday, was organized by the Swedish History Museum in conjunction with MuseumPartners in Austria, and the people behind it really want you to know that during the 350 years (750 to 1100) that Viking culture flourished, horned helmets were never a thing. They have amassed 500 artifacts — some copies; many the genuine article — to make the point.
There’s not a horned helmet among them (unless you count an amusing sight gag as you exit), because no such headpiece has ever come out of an archaeological dig. The ubiquitous headgear often associated with Vikings, we’re told in the exhibition, actually came out of the imagination of an 1876 costume designer staging a Wagner opera. And that’s not the only misperception this exhibition is intent on correcting.
The first thing you see in the introductory film as you enter is a farming scene. Raiding was certainly part of what Vikings did, but it is de-emphasized here — perhaps too much so — in favor of displays that highlight social and religious life and try to give women their due.
Countless fictional portrayals might have left the impression that Viking culture was somehow 90 percent male, wild-haired and sword-wielding, but of course it wasn’t, as the jewelry and many other women’s artifacts here attest. The now-rusted keys on display, we’re told, were often carried by women, because with men frequently on the road, they ran the farm.
A display of swords in the “Vikings” show includes the prized Ulfberht [Credit: Hiroko Masuike/The New York Times]If Viking society wasn’t all male, it probably wasn’t all that wild-haired, either. Both women and men possessed combs, generally made of bone. Tweezers and other grooming tools are also on display. There’s even a bronze “ear spoon,” because apparently Vikings were no fonder of waxy buildup than anyone else.
What’s most interesting about the exhibition, though, is the way it places Vikings within the evolving world. It includes, for instance, a shell found on Gotland, the Swedish island, that came from the waters off distant Cyprus, because one thing Vikings were good at was getting around.
The Gokstad boat [Credit: Hiroko Masuike/The New York Times]“The word ‘viking’ was something that you did, it wasn’t something that you were,” Sophie Nyman, director of exhibitions, marketing and visitor services for the Swedish History Museum, explained during a pre-opening tour. In the original meaning, one went “on a viking” — a journey for trading, raiding or settlement. Only in the 19th century did the word come to mean the people themselves.
From Scandinavia, the Vikings vikinged far and wide, encountering other emerging cultures. The exhibition is organized by themes rather than chronologically, and the cross-cultural pollination is especially clear in a section on religion. Norse gods and Christian symbolism combine on brooches and pendants, tangible evidence of the kind of slow cultural conquest or merging that is harder to dramatize than a plain old military invasion but fascinating to contemplate.
Rune stone reproductions at the “Vikings” exhibition at Discovery Times Square [Credit: Hiroko Masuike/The New York Times]“We think that people were very pragmatic,” said Lena Hejll, senior curator and project manager at the Swedish museum. “They used the gods they needed for different parts of life.”
The ships that made all this roaming possible are well represented. There’s a reproduction of a Viking boat, but just as compelling is a display that speaks to the archaeologist’s frustration: So many materials, including wood, deteriorate in a harsh climate. The display — “We call it the ghost ship,” Ms. Hejll said — consists only of what might be left of a ship at an archaeological dig: the metal hardware that held it together. Dozens of weatherworn rivets and other pieces of ancient hardware dangle from strings, creating the shape of a vessel; only the actual vessel is missing.
A hanging boat sculpture features iron rivets [Credit: Hiroko Masuike/ The New York Times]Ms. Hejll and Ms. Nyman said public interest in the Viking age has been high of late, both in Scandinavia, where a certain nationalist sentiment is associated with Vikings, and elsewhere, as evidenced by the television drama “Vikings,” which returns for its fourth season this month on the History channel. That presumably makes this traveling exhibition attractive for a for-profit museum like Discovery Times Square — it has already made nine other stops, including Chicago and several cities in Canada — as well as giving the show’s creators a chance to expand the public perception of the Viking era.
The exhibition is geared toward a general audience, with several interactive features likely to appeal to children. One especially illuminating one involves shipbuilding. It presents a graphic display of a landscape, then asks you to select what you’d need to build a Viking ship. Rope? Sure — make that choice and all the horses in the landscape lose their tails, because horsetail hair was used for rope. Wood? Of course — make that selection and all the trees disappear. Deforestation, it turns out, was not just an Industrial Age problem. The Viking commitment to a seafaring life was also a commitment to expend a lot of natural resources.
A gilded trefoil brooch, made of bronze [Credit: Hiroko Masuike/ The New York Times]The threat of exhausting environmental resources isn’t the only problem 21st-century inhabitants share with the Vikings of a millennium ago. There are, of course, swords in this wide-ranging exhibition. One display is devoted to the Ulfberht, a particularly prized type of sword inscribed with that moniker — the Gucci bag of medieval blades. And, we’re told, as with Gucci bags, there were imitation Ulfberht swords. The long tradition of street-corner knockoffs is, it seems, considerably longer than most people realize.
The Vikings Exhibition runs from Feb. 5 – Sept. 5, 2016, at Discovery Times Square: 226 West 44th Street, Manhattan, NYC.
Author: Neil Genzlinger | Source: The New York Times [March 02, 2016]
More than 2,000 years ago, China’s First Emperor built a burial complex guarded by a large terracotta army, intended to protect him in the afterlife. Now, some of those warriors are making the journey to Chicago’s Field Museum in their latest exhibition China’s First Emperor and His Terracotta Warriors, opening March 4, 2016.
The exhibition features more than 170 objects including stunning bronze artifacts, weaponry, and ten of the famed terracotta figures. Terracotta Warriors will introduce visitors to Qin Shihuangdi —China’s First Emperor—who united a country and built an army to last an eternity.
Around 7,000 of these six-foot-tall and taller warriors—significantly taller than men of the time—were found buried in three pits at the emperor’s tomb [Credit: Shaanxi Cultural Heritage Promotion Center and Emperor Qin Shihuang’s Mausoleum Site Museum]An Emperor’s Rise to Power and Lasting Influence
One of greatest archaeological finds of the 20th century, the terracotta army was created by Qin Shihuangdi, the First Emperor of China. His rise to power in 221 BC ended an era known as the “Warring States” period, during which China was composed of seven competing states and was marked by instability and broken alliances.
Emperor Qin Shihuang, depicted here, commissioned the giant tomb for himself before he died [Credit: Shaanxi Cultural Heritage Promotion Center and Emperor Qin Shihuang’s Mausoleum Site Museum]Qin Shihuangdi used an organized military, superior weapon technology, and a strong cavalry to defeat his enemies and establish a unified state. During your visit to the exhibition, you’ll discover crossbow bolts and a reconstructed wooden crossbow. This weapon revolutionized warfare, allowing archers to shoot nearly 900 yards, with less skill and strength than was needed for a bow and arrow. You will also encounter other weapons used by Qin military forces, including a long, chrome-plated sword, lance heads, dagger-axes, and spears.When the Terracotta Warriors were excavated from the emperor's tomb, starting in the 1970s, many were broken like these ones, and needed to be put back together by conservators [Credit: Shaanxi Cultural Heritage Promotion Center and Emperor Qin Shihuang’s Mausoleum Site Museum]Although the First Emperor’s reign was relatively short, he enacted several important innovations that left a lasting impression on China. Many of these are still evident today. He worked to strengthen his newly founded empire by building a great wall (the pre-cursor to China’s “Great Wall”) to protect his land in the north and west. In an effort to increase trade, he constructed new roads and canals and even regulated cart axles so that wheels uniformly fit the newly constructed roads.This archer, one of the guardians of the emperor’s tomb, likely once held a crossbow [Credit: Shaanxi Cultural Heritage Promotion Center and Emperor Qin Shihuang’s Mausoleum Site Museum]In order to rule effectively, a single currency, a standard form of writing, and a standardized system of weights and measures were all put into place. Examples of these innovations are all on display within the exhibition, including several Qin banliang (ban-lee-ang) coins—round coins each with a square hole—as well as a mold used to mass-produce these coins. This coin type became the standard form of Chinese currency for the next 2,000 years.
An Emperor’s Final Resting Place
Even though the Emperor made public improvements in his country, he was not without enemies; three unsuccessful assassination attempts increased his fear of death and drove his quest for immortality. With death constantly on the Emperor’s mind, and a desire to rule forever, Qin Shihuangdi began constructing a palace for his afterlife and instructed craftsman to make a terracotta army to protect him after his death.
The Chinese painted the Terracotta Army figures, but the pigments deteriorated over the years. Conservators try to preserve the remaining colors [Credit: Shaanxi Cultural Heritage Promotion Center and Emperor Qin Shihuang’s Mausoleum Site Museum]For more than 30 years, legions of workers contributed to this massive undertaking—some even paying with their life. Around this underground palace were representations of the Emperor’s officials, warriors, buildings, parks, and animals—everything he would need to carry on his rule without end. The First Emperor even included what are believed to be acrobats, musicians, and exotic animals in his tomb to provide entertainment.Each warrior has a unique face and hairstyle due to different molds and details added by hand postconstruction [Credit: Shaanxi Cultural Heritage Promotion Center and Emperor Qin Shihuang’s Mausoleum Site Museum]After the Emperor’s death, the terracotta warriors, generals, and others lay buried until 1974, when a farmer digging a well discovered them. Although the tomb itself was known historically and was visible on the landscape, the vast burial complex surrounding the site had been unknown until then. Archaeologists began work excavating the site, a process that continues today. Hundreds of pits, covering an area of nearly 22 square miles, have been located so far, and it is estimated that more than 8,000 figures were buried at the site.Chariots were an important part of China's army during the emperor's reign—hence the more than 130 models like this one discovered in the Terracotta Army pits [Credit: Shaanxi Cultural Heritage Promotion Center and Emperor Qin Shihuang’s Mausoleum Site Museum]Terracotta Warriors has nine full-size human figures, including several warriors, a general, an acrobat, and an official, on display as well as one life-size horse. Although most of the clay figures have lost the bright hues of their original paint and only provide faded glimpses of the way the army looked during the Emperor’s lifetime, you will encounter two replica warriors, painted in the vivid purple, teal, and red that the terracotta army wore.
Excavations continue today, but the central tomb of Qin Shihuangdi remains sealed. Stories tell of a celestial ceiling mapped out in pearls and a mercury river, but none of these written accounts have been confirmed. Visitors to the exhibition will learn about the scientific investigations hoping to shed light on the mysteries of the tomb.
China’s First Emperor and His Terracotta Warriors was organized by The Field Museum in partnership with the Shaanxi Provincial Cultural Relics Bureau, Shaanxi Cultural Heritage Promotion Center and Emperor Qin Shihuang’s Terracotta Army Museum of the People’s Republic of China. Major sponsors: Discover, Exelon, United Airlines.
China's First Emperor and His Terracotta Warriors is currently showing at The Field Museum, Chicago, and will run until January 8, 2017.
In Greek mythology, Eros was the god of love. He was capable of overpowering the minds of all gods and all men. Literary sources of the sixth and fifth centuries B.C. portrayed him as a powerful, often cruel, capricious being, and in classical Greek art Eros was usually represented as a winged youth.
A radically different visual image of Eros—as a charming, winged child asleep on a rock—was introduced centuries later by Hellenistic artists. The Metropolitan Museum of Art’s statue of Eros Sleeping—one of the finest of the surviving bronze statues from classical antiquity—will be the focus of the special exhibition Sleeping Eros, opening January 29, 2013. The exhibition is made possible by The Vlachos Family Fund.
Eros Sleeping will be shown with 46 related works of art in various media, ranging in date from the fifth century B.C. to the 17th century A.D., drawn primarily from the Museum’s permanent collection. Two works from private collections will also be shown.
Through these examples, the exhibition will examine the cult and image of Eros before and after the Sleeping Eros statue type, show the breadth of its influence, and trace the wide dispersal of the type in Roman times and its subsequent rediscovery during the Renaissance. The exhibition will also consider the original function and context of the sculpture, how the statue was made, and the issue of originals and copies in Greek and Roman sculpture.
The Sleeping Eros was among the earliest types of ancient sculpture to be rediscovered during the Italian Renaissance, and it was the subject of numerous figural studies by Renaissance and Baroque artists in Italy—including Michelangelo, among many others—who were looking to the classical tradition for training and inspiration. Some works were close likenesses, such as the fine Drawing of a Sleeping Eros after an antique sculpture by Giovanni Angelo Canini (1617–1666), which will be shown in the exhibition. Other, less literal, adaptations will also be displayed.
In 1943, when the Metropolitan Museum acquired its statue of Eros Sleeping, it was believed to be an original Hellenistic sculpture or a very close replica created between 250 and 150 B.C. Subsequently, some scholars have suggested that it is a very fine Roman copy of one of the most popular sculptures ever made in Roman Imperial times. Recent research—to be presented in the exhibition—supports the former identification, but also makes apparent that it was restored in antiquity—most likely in the Early Imperial period.
Details of the research will also be published in an upcoming article in the Metropolitan Museum’s annual Journal.
A public lecture by the curator on Friday, April 5, 2013, and gallery talks will be offered in conjunction with the exhibition.
Additional information about the exhibition and its accompanying programs can be found on the Museum’s website at www.metmuseum.org.
The exhibition is organized by Seán Hemingway, Curator, Department of Greek and Roman Art. Exhibition design is by Michael Batista, Exhibition Design Manager; lighting is by Clint Ross Coller and Richard Lichte, Lighting Design Managers; graphics are by Mortimer Lebigre, Associate Graphic Designer, all of the Museum’s Design Department.
Source: The Metropolitan Museum of Fine Art [January 23. 2012]
An exhibit of American Indian art at the Metropolitan Museum of Art throws the connection between art and collector into unusually sharp relief.
A feathered basket from the early 20th century, made of plant fiber and quail feathers from Pomo, California is on display in New York in this photo provided to Reuters on January 17, 2012 by the Metropolitan Museum of Art in New York City. An exhibit of American Indian art at the Metropolitan Museum of Art throws the connection between art and collector into unusually sharp relief. The show features key pieces from The Coe Collection of American Indian Art, the life's work of a Ralph T. Coe, a collector and museum director who played a central role in reviving interest in American Indian art [Credit: Reuters/Metropolitan Museum of Art]The show features key pieces from The Coe Collection of American Indian Art, the life's work of a Ralph T. Coe, a collector and museum director who played a central role in reviving interest in American Indian art.
"The exhibit honors Coe and the role he played in the acceptance and understanding of the Native American work," said Julie Jones, head of the museum's Department of the Arts of Africa, Oceania, and the Americas.
The show includes about 40 objects representing a wide range of materials, from stone to animal hide, as well as time, place and distinct peoples.
Most of the Coe collection dates from the 19th to early 20th century when Native Americans came in contact with outsiders ranging from traders to missionaries to the U.S. army.
"Coe had some particular interests, one of them being objects that have come to be called souvenir art," Jones explained.
Souvenir art melded Native American art with European art, such as mocassins embroidered with European-like floral designs. Work from the people of the Great Plains evokes the men on horseback wearing feathers and buckskin.
Masks and head dress ornaments, sometimes used in theatrical ceremonies and story-telling, are another aspect of the exhibit.
An imposing sculpture of a Noble Woman by the Northwest Coast Haida artist Robert Davidson, dated to 2001, is a contemporary expression of a long tradition of carving wood. Most of the objects were made by artists who were schooled by their predecessors.
"Traditions were handed down," Jones said.
The man behind the collection
Born in 1929 in Cleveland, Ohio, Coe grew up in a home with filled with works by Renoir, Pissarro, Monet and Manet, all collected by his father, a trustee of the Cleveland Museum of Art.
"Coe came from a solidly Eurocentric point of view. He grew up in a house full of European paintings and learned to love them," Jones said.
But a book by Miguel Covarrubias, a Mexican artist and amateur archaeologist sympathetic to tribal art, was a catalyst for Coe to turn his attention to the art of Native Americans.
Soon after reading it, Coe bought a carved model of a totem pole, his first work of American Indian art that would eventually form part of the Coe Collection, a group of more than 1,100 objects, some dating from prehistoric times.
He became a champion of American Indian art, a mutualism that continued for the next half-century.
By 1962 Coe, a curator at Kansas City's Nelson-Atkins Museum of Art, organized "The Imagination of Primitive Man," an exhibit designed to illuminate the creative imagination of tribal peoples.
The most ambitious campaign Coe waged on behalf of this art resulted in "Sacred Circles: Two Thousand Years of North American Indian Art," shown in London as part of the United States Bicentennial in 1976, and in Kansas City one year later.
Its nearly 700 objects revealed the Indian approach to nature and nature's relationship to man, myth, time and space to a public that was unfamiliar with it.
"'Sacred Circles' changed the popular presentation of American Indian art and influenced a generation of collectors and museum professionals," Jones said.
For his last large exhibition — "Lost and Found Traditions: Native American Art, 1965 -1985" — Coe crisscrossed North America, seeking works of art that used traditional forms and materials, but were redefined by contemporary visions.
It marked Coe's transition from art historian to an advocate for the new, larger world of North American Indian contemporary art, and was shown in several museums in 1986.
Author: Ellen Freilich | Source: Reuters [January 17, 2012]
Superpossibilities of telescopes Orion from school of advertising Texas Creative.
Very entertaining details
Texas Creative tell the message that by means of 800x increase in telescopes Orion in the star sky it is possible to see very entertaining details. For example, an inscription «Made in China» on the American flag strengthened on a surface of the Moon by the first trailblazers.
Cydcor is established as an independent company in 1994, Cydcor growth is conducted under the leadership of President Jim Majeski and Chief Executive Officer Gary Polson. This growth has been substantial, and Cydcor ability to profitable joint ventures to establish, to deliver measurable results through significant market share increase from Cydcor customers and a variable cost model.
Cydcor is named among the «Best Places to Work» by the San Fernando Valley Business Journal for the second year in a row and ranked №14 for area mid-sized companies. It serves the people bringing the voice of a strong commitment to workplace excellence as the leading provider of outsourced, face-to-face sales teams.
Cydcor donates gift boxes to US Army
Face-to-face sales firm Cydcor announced that is has donated 28 boxes of items to U.S. soldiers through Any Soldier, a philanthropy group that helps American armed service members receive packages and letters from home.
Members of the Cydcor Community helped fill the boxes at the company’s Westlake Village, California headquarters, and Any Soldier mailed them off to soldiers serving in the field, along with special letters from loved ones.
«Our troops are making sacrifices for all of us and we felt it was very important to help them as much as we could,» — said Gary Polson (chief executive).
Cydcor has donated time and resources to a number of area philanthropy groups in recent years, including the Children’s Hospital in Los Angeles and Casa Pacifica in Camarillo, California. More than 220 company sales representatives have donated more than 220 hours to 16 organizations to date.
Participation in a life of the US soldiers
«We’re proud to have had the opportunity to make a difference in the lives of these soldiers,» — said Vera Quinn (vice president of operations).
Special groups of the Texas rangers will be engaged in protection of the American-Mexican border, informs Associated Press.
As the governor of Texas Rick Perry has declared, the federal government could not cope with a growing crime rate on border, and the local government should be protected independently. According to critics, Perry's message has populist character.
According to the governor-republican who earlier repeatedly opposed politicians of the federal government, rangers should block border sites where especially intensively there is a narcotraffic and violence level is high. Besides, a special problem — protection of remote areas where owners of farms and ranches complain of flow of smugglers and gangsters from Mexico with which not in forces to consult local bodies of the law and order and boundary guards.
"Perry's today's statement — the next empty promise about safety of the borders, made in a year of elections", — was declared by representative Kay Bailey Hutchison — the senator from Texas which will compete to Perry on governor's elections-2010. In Perry's answer named position Hutchison "hypocritical" as the woman-politician "is in Washington 16 years", but does not undertake the measures necessary for safety of border in Texas.
Throughout 2009 Perry repeatedly asked the minister of national safety Janet Ann Napolitano and president of Barack Obama to send for protection of the Texas site of border the additional armed contingent of national guards as a part of thousand persons. Till now it have not made, as disputes on an order of financing and placing of guardsmen proceed.
The Texas rangers — the elite law-enforcement department generated in 1835 which are under the aegis of department of public safety of the State of Texas. At present number of rangers — approximately 140 persons. They are engaged in investigation of the important criminal cases, provide safety of the governor, catch especially dangerous criminals. According to Perry, new mission of rangers should become the most important for all their history.
The Chinese authorities have flayed on September, 10th the decision of the government of the USA on increase in tariffs for import of steel pipes from China.
On it informs AFP. In China have promised to accept "serious reciprocal measures", but have not specified, in what they will consist.
On September, 9th the Ministry of Trade of the USA has informed, that imposes penal tariffs not less than in 31% on import of pipes from China. The decision in the ministry have explained complaints of the American manufacturers to metallurgists of China which, using grants of the government, have increased the share in the market of the USA.
So, with 2006 for 2008 import to the USA from China of pipes which are used on oil and gas deposits, has grown for 203%. In 2008 the volume of export of given production has made an order of 2,6 billion dollars.
In April seven American steelmaking companies and trade union of workers of a steel industry of USA United Steelworkers already complained of the Chinese metallurgists to US authorities. According to the American corporations, the increase in export of steelmaking production from China has caused a damage of activity of the American manufacturers and already costed to them more than two thousand workplaces.
In June of current year the administration of the USA has submitted the first from the moment of election as the president of the country of Barack Obama the complaint to the WTO on actions of China. The complaint is connected with unfair, according to the American authorities, restriction of export of raw materials from China (in particular, bauxites and zinc), that gives advantages to the Chinese manufacturers. The raw materials become more accessible to the Chinese companies and decrease in the price.
The US president Barack Obama insists on carrying out detailed audit of the American arsenal of nuclear arms, newspaper The New York Times writes on September, 8th.
Results of this work will allow to define, as far as possible to reduce their stocks within the limits of the new contract which is planned to sign with Russia.
Last time defensive department of the USA carried out similar audit in 2001. Military men have come to conclusion, that the American army will enough have from 1700 to 2200 nuclear warheads ready to application. This indicator suited also administration of then US president George Bush. Now Moscow and Washington are full determination to reduce the nuclear arsenals even more, that is one of the diplomatic purposes of the American president.
Nevertheless, as underlines The New York Times, the detailed analysis of a condition of the American nuclear arsenal in this situation is critical for the USA. He will allow to define a minimum quantity of necessary arms, and also to answer other questions. In particular, what rockets, bombers and submarines the Pentagon, and also what means to spend for their modernisation taking into account if the nuclear weapon appears at other states should keep.
In 1960th years of the USA possessed an arsenal in 32000 nuclear warheads, however by the moment of signing of the contract on reduction and restriction of strategic offensive arms in 1991 their number was reduced to 10500. In 2009 The Federation of American Scientists has informed, that Washington has lowered number of warheads ready to application to 2200. It happens for three years before the terms provided by the international arrangements.
The white house is not intended to interfere with process of decision-making by a management of American autoconcern General Motors about sale of European branch Adam Opel GmbH, reports Reuters.
Board of directors General Motors once again could not choose on August, 22nd the buyer from the Canadian manufacturer of autoaccessories Magna, the consortium with which includes the Russian Savings Bank, and Belgian investment company RHJ International. According to the assistant to the press-secretary of the White house Bill Burton, the government of the USA not begins to influence choice process in spite of the fact that 60% of actives GM own somehow.
"According to the president, decisions on current operations should be accepted by workers General Motors. He (the US president Barack Obama) never wished to be engaged in this business, and the president is happy, that they make the decision and again rise on feet", — Burton at a briefing in the State of Massachusetts where spends holiday the US president has told.
In turn press-secretary German chancellor Angela Merkel on Monday has confirmed, that the German government still wants, that concern Magna became buyer Opel, and undertakes necessary measures to promote. According to the press-secretary of the chancellor, the next session of management General Motors of a choice of the buyer will take place on September, 8th or 9.
Board of directors GM gives only "recommendation" about the buyer. The definitive decision accepts appointed after the beginning of procedure of bankruptcy Opel "tutorial structure" in which enter on two representatives from GM and the federal government, and also a "neutral" member — the president of the Chamber of commerce of the USA into Germany Fred Irwin.
Connecticut The police has no right to stop you for driving on a bicycle with a speed over 65 miles at an o'clock. The marinaded cucumber should be elastic to be recognised that officially.
Delaware It is illegal to try to pawn own artificial limb.
Indiana To open cans by means of fire-arms it is illegal. Citizens are forbidden to go to theatre or cinema, and also, to go in a tram within 4 hours after they ate garlic.
Iowa According to the law the kiss can last no more than 5 minutes. One-armed pianists under the law are obliged to play free of charge.
Massachusetts The people who are present on commemoration, have the right to eat no more than three sandwiches. The snore is law infringement, except for cases when all windows in a bedroom are corked properly.
Missouri Any city can impose the tax to wind band support if in this orchestra the mayor plays a small flute and each musician is able to eat peas by means of a knife.
New Jersey «Disapprovingly to look» at the officer of police it is considered illegal.
Oklahoma In Oklahoma illegal it is considered to bite off from another's hamburger. People who pull faces to dogs, can be subjected the penalty or imprisonment. Dogs should have the permission signed by the mayor to gather in groups on three or more individuals within a private property.
Pennsylvania The special decree about cleanliness forbids housewives to hide a dirt and a dust under a carpet in the house. Law infringement is residing more than 16 women in one house simultaneously as it assumes brothel existence. Nevertheless to 120 men can live together, and it is not considered illegal.
Tennessee Women are forbidden to drive the car, except for cases when in front of the car goes or the man swinging a red tag runs to warn pedestrians and other drivers about danger.
Washington The law, called to reduce number of crimes, says: «Any driver having criminal intentions, is obliged at entrance to a city to stop and by phone to inform on them to the chief of police». It is illegal to paint a flag of the USA a pattern in peas. It is illegal to pretend, that your parents are rich.
Belvedere According to the city council decree «dogs should not be in public places without the owner on a lead».
Glendale To show films of horrors it is authorised only on Monday, Tuesday and on Wednesday.
Hollywood According to the law to drive on the Hollywood parkway more than 200 sheep simultaneously it is forbidden.
Los Angeles It is forbidden to bathe simultaneously two children in one bath. It is not authorised to cry at a summer residence of a testimony in court. It is forbidden to lick toads. Toads allocate substance which some lick to achieve effect of narcotic influence.
Iowa According to the law the kiss can last no more than 5 minutes. One-armed pianists under the law are obliged to play free of charge.
Waterbury (Connecticut) Cosmeticians are forbidden to mutter, sing and whistle at work with the client.
Sterling (Colorado) Cats are authorised to run freely only in the event that they have back dimensional fires.
Lewis (Delaware) The introduction into marriage on a bet is the lawful basis for cancellation of similar marriage.
Portland (Maine) At the person going along the street, laces should be fastened
Minneapolis (Minnesota) The person guilty of a double parking, it is necessary to chain in shackles and to hold on bread and water.
Clevelend (Ohio) The law forbids to catch mice without the hunting licence.
Oxford (Ohio) For the woman illegal it is considered to remove clothes before a portrait of the man.
Allentown (Pennsylvania) All fire hydrants should be checked for an hour to a fire.
Richmond (Virginia) To throw a coin at restaurant, to find out, who will pay for coffee, illegally.
Racine (Wisconsin) It is forbidden to awake sleeping firemen.
During practically all life, George Washington had serious problems with a teeth. In the course of time their condition all became worse and worse, disturbed strong pains, and any of dentists to whom he addressed, could not offer anything, except their removal. In 1772 doctor from Philadelphia undertook this hard business and has removed to the patient at once some teeth. Then, has caught a long-awaited tooth artificial limb...
The artificial limb has been cut out manually, partially from a bone of a hippopotamus, partially from a teeth of a cow and kept in a mouth metal arches. The tooth artificial limb has appeared little bit rather big for his mouth, creating specific expression which we can contemplate today on a portrait of the president. At present, the artificial limb is in National a museum of Maryland.
Recently in Washington the annual public dinner — "" on which there were representatives of political elite of the USA and the press has taken place. During a dinner, vice-president of the United States known for the verbal oversights has managed a site of the confidential bunker in which should be, what, in case of nuclear attack of the White house to incur powers of the working president. As it became known, the "confidential" bunker to be under residence of vice-president where during an attack 9/11 previous vice-president disappeared.
Cydcor is named among the «Best Places to Work» by the San Fernando Valley Business Journal for the second year in a row and ranked №14 for area mid-sized companies. It serves the people bringing the voice of a strong commitment to workplace excellence as the leading provider of outsourced, face-to-face sales teams.
