Parthenon East Metope XI: Herakles and the Gigantomachy

Parthenon East Metope XI, one of two metopes with three figures in the composition, has been one of the most problematic in the east series. C. Praschniker, in his study of the east metopes in 1928, was the first to propose Herakles as the central figure. Subsequent scholars have challenged this identification, suggesting instead Apollo, Ares, or Hephaistos. A comparison with representations of the Gigantomachy on vases of the fifth century B.C. supports Herakles for the central figure in East XI. An examination of plaster casts of the metope in Basel and in Athens provides evidence to reconstruct the figure equipped with a large bow in his outstretched left hand and the position of his right foot. The new evidence for the pose and attributes further supports the identification of the central figure as Herakles. Correlations to another three-figure composition in the east metopes, as well as placement on the facade and alignment with the ground plan of the temple, underscore the important role given to Herakles in this representation of the battle of the gods and giants.

Fishtail Braids and the Caryatid Hairstyling Project: Fashion Today and in Ancient Athens

The fishtail braid, newly popular in the past five years on adult women on New York streets and the runway, also conspicuously adorns the famed Caryatids, or maidens, 430 BCE, from the Erechtheion on the Athenian Acropolis. The Caryatids have been carefully studied for their pose and clothing, but their unique hairstyles have been overlooked. Previous scholars described these ancient hairstyles simply as braided without defining the specific braids used or whether or not the hairstyle could be recreated. No one had identified the fishtail braid as the main braid down the back and as the style of some of the side braids wrapped around the heads of the Caryatids. The authors worked with a professional hairstylist and six Fairfield University student models to demonstrate that these ancient Greek arrangements of braids were not merely the creations of sculptors but could have been worn. Our project recreating the braids and their arrangements is a research method known as experimental archaeology, a way to test hypotheses related to antiquity by using methods as archaeologically accurate as possible, and striving for historically accurate results. The project’s genesis began in 2007 with the exhibition The Creative Photograph in Archaeology at Fairfield University, in which detailed photographs of the Caryatids provided uncommon views of their hair. In 2009, Professor of Art History Katherine A. Schwab made an internationally-screened short film which provides the basis for further inquiry on technique and meaning. Coincidentally, at the same time, the fishtail braid began to be featured prominently on runways and in the fashion press. This article examines the techniques and meanings of the fishtail braid, which connect girls and women today to their counterparts in antiquity. Students who wore the braids thought about hairstyles in an entirely new way and as a compelling portal to another time and place. Ancient Athenians were no longer a vague concept but real people whose lives were played out in the surviving art

Highlights from the Plaster Cast Collection

https://digitalcommons.fairfield.edu/gifts-from-athens-ephemera/1002/thumbnail.jp

Evaluation of Toxicity Analysis for Foundry Sand Specifications

Byproducts from many industries have the potential to be used as construction materials, but some means is required to determine if the material is environmentally benign. Foundry sands are produced in many states and can be useful as in transportation projects. However, INDOT currently requires the use of the MICROTOX test to assess the potential toxicity of the sands, and this requirement is viewed as an unnecessary impediment by the producers of foundry sands and is a requirement not encountered in other states. Therefore, the goal of this project was to review current requirements for testing of recycled materials, determine the availability of MICROTOX testing, and to make recommendations concerning the continued use of MICROTOX as an assessment tool. Strictly from viewpoint of environmental protection, the inclusion of Microtox makes sense. The test has the sensitivity to detect potentially toxic agents in recycled sand that might escape chemical analysis. The test, therefore, provides a layer of assurance that otherwise would be absent. From the perspective of the foundry industry, the Microtox test is an unneeded hurdle that could potentially block the beneficial use of spent foundry sand. Cost is one consideration, but the lack of local analytical facilities for the Microtox is particularly troublesome. Our recommendation is that the Microtox test be retained by INDOT, but we suggest the following: a) Minimize the number of samples of foundry sand that must be tested possibly by reducing the frequency of sampling and testing. b) A consistent, readily available laboratory needs to be established to ensure rapid turn around of analyses and reduced costs. Currently, the demand is low and some dedicated equipment is needed to perform the test. One of the potential outcomes of this project discussed during the negotiations for this project was a possible follow-up project in which we would investigate the modifications to the bioassay. This might include exploring alternatives to Microtox or simplifications of the Microtox test. We remain open to this possibility, but from the scientific point of view, such a follow-up may not be necessary. Of all the bioassays we reviewed, Microtox seemed to be the most widely used (though not for foundry sands), and we found no evidence that other bioassays were being offered routinely at commercial labs

A Cultural History of Hair, Volume 1: A Cultural History of Hair in Antiquity

Katherine Schwab and Marice Rose are contributing authors, Self and Society. Book description: How have our attitudes to hair changed over time? In what ways have new technologies influenced hair-related practices and beliefs? Is hair just about fashion or does it express social, spiritual, and cultural meanings? In a work that spans nearly 3,000 years these ambitious questions are addressed by 60 experts, each contributing their overview of a theme applied to a period in history. With the help of a broad range of case material they illustrate trends and nuances of the culture of hair in Western societies from ancient times to the present. Volume editors ensure the cohesion of the whole, and to make the set as easy as possible to use, chapter titles are identical across each of the volumes. This gives the reader the choice to gain an overview of a period by reading one volume, or to follow a theme through history by reading the relevant chapter in each volume.https://digitalcommons.fairfield.edu/visualandperformingarts-books/1021/thumbnail.jp