Alexander the Great and the mystery of the elephant medallions

To all those who witnessed his extraordinary conquests, from Albania to India, Alexander the Great appeared invincible. How Alexander himself promoted this appearance - how he abetted the belief that he enjoyed divine favor and commanded even the forces of nature against his enemies - is the subject of Frank L. Holt's absorbing book. Solid evidence for the "supernaturalized" Alexander lies in a rare series of medallions that depict the triumphant young king at war against the elephants, archers, and chariots of Rajah Porus of India at the Battle of the Hydaspes River. Recovered from Afghanistan and Iraq in sensational and sometimes perilous circumstances, these ancient artifacts have long animated the modern historical debate about Alexander. Holt's book, the first devoted to the mystery of these ancient medallions, takes us into the history of their discovery and interpretation, into the knowable facts of their manufacture and meaning, and, ultimately, into the king's own psyche and his frightening theology of war. The result is a valuable analysis of Alexander history and myth, a vivid account of numismatics, and a spellbinding look into the age-old mechanics of megalomania

A satirycall dialogue or a sharplye-invectiue conference, betweene Allexander the great, and that truelye woman-hater Diogynes [electronic resource]

Dedication signed: Willyam Goddard.In verse."A morrall satire, intituled the Owles araygnement", F2r-end.Printer's name supplied and publication date conjectured by STC.Signatures: A-Fp4s.Reproduction of the original in the British Library.STC (2nd ed.)Electronic reproduction

Faces of power: Alexander's image and Hellenistic politics

Alexander the Great changed the face of the ancient world. During his life and after his death, his image in works of art exerted an unprecedented influence?on marbles, bronzes, ivories, frescoes, mosaics, coins, medals, even painted pottery and reliefware. Alexander's physiognomy became the most famous in history. But can we really know what meaning lies behind these images?Andrew Stewart demonstrates that these portraits - wildly divergent in character, quality, type, provenance, date, and purpose - actually transmit not so much a likeness of Alexander as a set of carefully crafted clichés that mobilize the notion "Alexander" for diverse ends and diverse audiences. Stewart discusses the portraits as studies in power and his original interpretation of them gives unprecedented fullness and shape to the idea and image called "Alexander.