Venus de Milo

Prompt: Describe the characteristics of the Reconstructions in Venus de Milo's Interpretation.

Without arms, it is unclear what the statue originally looked like. The original appearance of the Venus has been disputed since 1821, with de Clarac arguing that the Venus was a single figure holding an apple, whereas Quatremere held that she was part of a group, with her arms around another figure.  Other proposed restorations have included the Venus holding wreaths, a dove, or spears.Wilhelm Fröhner suggested in 1876 that the Venus de Milo's right hand held the drapery slipping down from her hips, while the left held an apple; this theory was expanded on by Furtwängler.  Kousser considers this the "most plausible" reconstruction. Scientific analyses conducted during restoration of the Venus in 2010 supported the theory that the  arm fragment and hand holding the apple found alongside the sculpture were originally part of the Venus; Martinez argues that the identification of the sculpture as Venus holding an apple is thus definitively proved.Hamiaux suggests that the Venus de Milo is of the same sculptural type as the Capuan Venus and another sculpture of Aphrodite from Perge.  She argues that all derive from the cult statue in the temple of Aphrodite on the Acrocorinth, which depicted Aphrodite admiring herself in a shield.  Christine Mitchell Havelock, who believes the Capuan Venus was based on the Venus de Milo, by contrast considers the Melian sculpture "a fresh invention" of the Hellenistic period.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: Focus on Venus de Milo and explain the Reception.

No ancient source can be securely identified as discussing the Venus de Milo, and there are neither enough surviving ancient statues, nor enough evidence about how ancient Greeks judged artistic quality, to judge how the sculpture would have been received in the ancient world.  But, according to Kenneth Clark (in 1949), "within a few years of her discovery in 1820, the Venus de Milo had taken the central, impregnable position formerly occupied by the Venus de' Medici, and even now that she has lost favour with connoisseurs and archaeologists she has held her place in popular imagery as a symbol, or trade mark, of Beauty".Today the Venus de Milo is perhaps the most famous ancient Greek statue in the world, seen by more than seven million visitors every year.  It established itself as a key part of the Louvre's antiquities collection soon after its discovery.  At this time, the Louvre had recently lost several major works following the Napoleonic Wars, as objects acquired by Napoleon were returned to their countries of origin.  The Venus was soon one of the most famous antiquities in Europe; in the 19th century it was distributed in plaster casts, photographs, and bronze copies.  A plaster cast was sent to the Berlin Academy in 1822, only a year after the Louvre acquired the Venus, and a cast was displayed at The Crystal Palace.The Venus de Milo has been the subject of both literature and the visual arts since its discovery.  More than 70 poems about the Venus have been published.  In the 19th century paintings of the Venus often depicted statuettes of the figure, for instance in Honoré Daumier's The Connoisseur.  19th-century artists also used the Venus as a model: Max Klinger based the Minerva in his Judgement of Paris on the Venus de Milo; Eugene Delacroix may have used it for Liberty Leading the People.In the early 20th century, the Venus de Milo caught the attention of the surrealist movement.  Erwin Blumenfeld and Clarence Sinclair Bull both made photomontages based on the Venus.  Max Ernst used the Venus in his "instruction manuals"; René Magritte painted a plaster copy of the Venus, making her body pink, her robe blue, and leaving the head white; and Salvador Dalì based several paintings and sculptures, including his painting The Hallucinogenic Toreador, on her.  In contemporary art, Niki de Saint-Phalle has used a reproduction of the Venus in a performance, Yves Klein produced a copy in International Klein Blue, and artists including Arman, Clive Barker, and Jim Dine have all made sculptures inspired by the Venus. The iconic status of the Venus de Milo has meant that in the 20th century it has been used in film and advertising: a poster for the 1932 film Blonde Venus shows Marlene Dietrich as the Venus de Milo, while in 2003 Eva Green, wearing only a white sheet and black arm-length gloves, recreated the sculpture in The Dreamers.  Actresses have frequently been compared to the Venus: an article in Photoplay in 1928 concluded the Joan Crawford was the Hollywood actress whose measurements most resembled the Venus de Milo, Clara Bow and Jean Harlow were both photographed as the Venus for magazines.  Advertisements for Kellogg's cornflakes, an early speakerphone made by General Telephone & Electronics, Levi's jeans and Mercedes-Benz cars have all used the Venus.In contrast with the popular and artistic appreciation of the Venus, since Fürtwangler re-dated the sculpture to the Hellenistic period some scholars have been more critical. In his History of Greek Art, Martin Robertson argues that the sculpture's reputation is due more to propaganda than to its own artistic merit. Scholars have concentrated on studying copies of classical sculpture mentioned in ancient sources, such as the Aphrodite of Knidos, than the Venus de Milo, even when those copies are generally considered to be technically inferior to the Venus; Elizabeth Prettejohn argues that this is due to classicists' bias towards written sources over visual ones.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: Explain the Reception of this artwork, Venus de Milo.

No ancient source can be securely identified as discussing the Venus de Milo, and there are neither enough surviving ancient statues, nor enough evidence about how ancient Greeks judged artistic quality, to judge how the sculpture would have been received in the ancient world.  But, according to Kenneth Clark (in 1949), "within a few years of her discovery in 1820, the Venus de Milo had taken the central, impregnable position formerly occupied by the Venus de' Medici, and even now that she has lost favour with connoisseurs and archaeologists she has held her place in popular imagery as a symbol, or trade mark, of Beauty".Today the Venus de Milo is perhaps the most famous ancient Greek statue in the world, seen by more than seven million visitors every year.  It established itself as a key part of the Louvre's antiquities collection soon after its discovery.  At this time, the Louvre had recently lost several major works following the Napoleonic Wars, as objects acquired by Napoleon were returned to their countries of origin.  The Venus was soon one of the most famous antiquities in Europe; in the 19th century it was distributed in plaster casts, photographs, and bronze copies.  A plaster cast was sent to the Berlin Academy in 1822, only a year after the Louvre acquired the Venus, and a cast was displayed at The Crystal Palace.The Venus de Milo has been the subject of both literature and the visual arts since its discovery.  More than 70 poems about the Venus have been published.  In the 19th century paintings of the Venus often depicted statuettes of the figure, for instance in Honoré Daumier's The Connoisseur.  19th-century artists also used the Venus as a model: Max Klinger based the Minerva in his Judgement of Paris on the Venus de Milo; Eugene Delacroix may have used it for Liberty Leading the People.In the early 20th century, the Venus de Milo caught the attention of the surrealist movement.  Erwin Blumenfeld and Clarence Sinclair Bull both made photomontages based on the Venus.  Max Ernst used the Venus in his "instruction manuals"; René Magritte painted a plaster copy of the Venus, making her body pink, her robe blue, and leaving the head white; and Salvador Dalì based several paintings and sculptures, including his painting The Hallucinogenic Toreador, on her.  In contemporary art, Niki de Saint-Phalle has used a reproduction of the Venus in a performance, Yves Klein produced a copy in International Klein Blue, and artists including Arman, Clive Barker, and Jim Dine have all made sculptures inspired by the Venus. The iconic status of the Venus de Milo has meant that in the 20th century it has been used in film and advertising: a poster for the 1932 film Blonde Venus shows Marlene Dietrich as the Venus de Milo, while in 2003 Eva Green, wearing only a white sheet and black arm-length gloves, recreated the sculpture in The Dreamers.  Actresses have frequently been compared to the Venus: an article in Photoplay in 1928 concluded the Joan Crawford was the Hollywood actress whose measurements most resembled the Venus de Milo, Clara Bow and Jean Harlow were both photographed as the Venus for magazines.  Advertisements for Kellogg's cornflakes, an early speakerphone made by General Telephone & Electronics, Levi's jeans and Mercedes-Benz cars have all used the Venus.In contrast with the popular and artistic appreciation of the Venus, since Fürtwangler re-dated the sculpture to the Hellenistic period some scholars have been more critical. In his History of Greek Art, Martin Robertson argues that the sculpture's reputation is due more to propaganda than to its own artistic merit. Scholars have concentrated on studying copies of classical sculpture mentioned in ancient sources, such as the Aphrodite of Knidos, than the Venus de Milo, even when those copies are generally considered to be technically inferior to the Venus; Elizabeth Prettejohn argues that this is due to classicists' bias towards written sources over visual ones.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: How does Venus de Milo explain its Reception?

No ancient source can be securely identified as discussing the Venus de Milo, and there are neither enough surviving ancient statues, nor enough evidence about how ancient Greeks judged artistic quality, to judge how the sculpture would have been received in the ancient world.  But, according to Kenneth Clark (in 1949), "within a few years of her discovery in 1820, the Venus de Milo had taken the central, impregnable position formerly occupied by the Venus de' Medici, and even now that she has lost favour with connoisseurs and archaeologists she has held her place in popular imagery as a symbol, or trade mark, of Beauty".Today the Venus de Milo is perhaps the most famous ancient Greek statue in the world, seen by more than seven million visitors every year.  It established itself as a key part of the Louvre's antiquities collection soon after its discovery.  At this time, the Louvre had recently lost several major works following the Napoleonic Wars, as objects acquired by Napoleon were returned to their countries of origin.  The Venus was soon one of the most famous antiquities in Europe; in the 19th century it was distributed in plaster casts, photographs, and bronze copies.  A plaster cast was sent to the Berlin Academy in 1822, only a year after the Louvre acquired the Venus, and a cast was displayed at The Crystal Palace.The Venus de Milo has been the subject of both literature and the visual arts since its discovery.  More than 70 poems about the Venus have been published.  In the 19th century paintings of the Venus often depicted statuettes of the figure, for instance in Honoré Daumier's The Connoisseur.  19th-century artists also used the Venus as a model: Max Klinger based the Minerva in his Judgement of Paris on the Venus de Milo; Eugene Delacroix may have used it for Liberty Leading the People.In the early 20th century, the Venus de Milo caught the attention of the surrealist movement.  Erwin Blumenfeld and Clarence Sinclair Bull both made photomontages based on the Venus.  Max Ernst used the Venus in his "instruction manuals"; René Magritte painted a plaster copy of the Venus, making her body pink, her robe blue, and leaving the head white; and Salvador Dalì based several paintings and sculptures, including his painting The Hallucinogenic Toreador, on her.  In contemporary art, Niki de Saint-Phalle has used a reproduction of the Venus in a performance, Yves Klein produced a copy in International Klein Blue, and artists including Arman, Clive Barker, and Jim Dine have all made sculptures inspired by the Venus. The iconic status of the Venus de Milo has meant that in the 20th century it has been used in film and advertising: a poster for the 1932 film Blonde Venus shows Marlene Dietrich as the Venus de Milo, while in 2003 Eva Green, wearing only a white sheet and black arm-length gloves, recreated the sculpture in The Dreamers.  Actresses have frequently been compared to the Venus: an article in Photoplay in 1928 concluded the Joan Crawford was the Hollywood actress whose measurements most resembled the Venus de Milo, Clara Bow and Jean Harlow were both photographed as the Venus for magazines.  Advertisements for Kellogg's cornflakes, an early speakerphone made by General Telephone & Electronics, Levi's jeans and Mercedes-Benz cars have all used the Venus.In contrast with the popular and artistic appreciation of the Venus, since Fürtwangler re-dated the sculpture to the Hellenistic period some scholars have been more critical. In his History of Greek Art, Martin Robertson argues that the sculpture's reputation is due more to propaganda than to its own artistic merit. Scholars have concentrated on studying copies of classical sculpture mentioned in ancient sources, such as the Aphrodite of Knidos, than the Venus de Milo, even when those copies are generally considered to be technically inferior to the Venus; Elizabeth Prettejohn argues that this is due to classicists' bias towards written sources over visual ones.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Venus de Milo

Prompt: In Venus de Milo, how is the Reception discussed?

No ancient source can be securely identified as discussing the Venus de Milo, and there are neither enough surviving ancient statues, nor enough evidence about how ancient Greeks judged artistic quality, to judge how the sculpture would have been received in the ancient world.  But, according to Kenneth Clark (in 1949), "within a few years of her discovery in 1820, the Venus de Milo had taken the central, impregnable position formerly occupied by the Venus de' Medici, and even now that she has lost favour with connoisseurs and archaeologists she has held her place in popular imagery as a symbol, or trade mark, of Beauty".Today the Venus de Milo is perhaps the most famous ancient Greek statue in the world, seen by more than seven million visitors every year.  It established itself as a key part of the Louvre's antiquities collection soon after its discovery.  At this time, the Louvre had recently lost several major works following the Napoleonic Wars, as objects acquired by Napoleon were returned to their countries of origin.  The Venus was soon one of the most famous antiquities in Europe; in the 19th century it was distributed in plaster casts, photographs, and bronze copies.  A plaster cast was sent to the Berlin Academy in 1822, only a year after the Louvre acquired the Venus, and a cast was displayed at The Crystal Palace.The Venus de Milo has been the subject of both literature and the visual arts since its discovery.  More than 70 poems about the Venus have been published.  In the 19th century paintings of the Venus often depicted statuettes of the figure, for instance in Honoré Daumier's The Connoisseur.  19th-century artists also used the Venus as a model: Max Klinger based the Minerva in his Judgement of Paris on the Venus de Milo; Eugene Delacroix may have used it for Liberty Leading the People.In the early 20th century, the Venus de Milo caught the attention of the surrealist movement.  Erwin Blumenfeld and Clarence Sinclair Bull both made photomontages based on the Venus.  Max Ernst used the Venus in his "instruction manuals"; René Magritte painted a plaster copy of the Venus, making her body pink, her robe blue, and leaving the head white; and Salvador Dalì based several paintings and sculptures, including his painting The Hallucinogenic Toreador, on her.  In contemporary art, Niki de Saint-Phalle has used a reproduction of the Venus in a performance, Yves Klein produced a copy in International Klein Blue, and artists including Arman, Clive Barker, and Jim Dine have all made sculptures inspired by the Venus. The iconic status of the Venus de Milo has meant that in the 20th century it has been used in film and advertising: a poster for the 1932 film Blonde Venus shows Marlene Dietrich as the Venus de Milo, while in 2003 Eva Green, wearing only a white sheet and black arm-length gloves, recreated the sculpture in The Dreamers.  Actresses have frequently been compared to the Venus: an article in Photoplay in 1928 concluded the Joan Crawford was the Hollywood actress whose measurements most resembled the Venus de Milo, Clara Bow and Jean Harlow were both photographed as the Venus for magazines.  Advertisements for Kellogg's cornflakes, an early speakerphone made by General Telephone & Electronics, Levi's jeans and Mercedes-Benz cars have all used the Venus.In contrast with the popular and artistic appreciation of the Venus, since Fürtwangler re-dated the sculpture to the Hellenistic period some scholars have been more critical. In his History of Greek Art, Martin Robertson argues that the sculpture's reputation is due more to propaganda than to its own artistic merit. Scholars have concentrated on studying copies of classical sculpture mentioned in ancient sources, such as the Aphrodite of Knidos, than the Venus de Milo, even when those copies are generally considered to be technically inferior to the Venus; Elizabeth Prettejohn argues that this is due to classicists' bias towards written sources over visual ones.

Marie-Louis Jean André Charles de Martin du Tyrac

File:Paris Louvre Venus de Milo Debay drawing.jpg

Charles François de Riffardeau, marquis de Rivière

File:Joseph Warlencourt - L'ancienne salle du Tibre.jpg

Louis Nicolas Philippe Auguste de Forbin

The ''Venus de Milo'' on display in the Louvre, c.1824–1830, attributed to [[Joseph Warlencourt

Category:Archaeological discoveries in the Aegean Islands

Charles Othon Frédéric Jean-Baptiste de Clarac

Category:2nd-century BC Greek sculptures

Category:Ancient Greek and Roman sculptures in the Louvre

''Venus de Milo'' drawn by Auguste Debay.  The inscribed plinth, if originally part of the Venus, identifies the sculptor as [---]andros of [[Antioch on the Maeander


Yankee Doodle

Prompt: Focus on Yankee Doodle and explain the abstract.

"Yankee Doodle" is a traditional song and nursery rhyme, the early versions of which predate the Seven Years' War and American Revolutionary War. It is often sung patriotically in the United States today. It is the state song of the U.S. state of Connecticut. Its Roud Folk Song Index number is 4501.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Explain the abstract of this artwork, Yankee Doodle.

"Yankee Doodle" is a traditional song and nursery rhyme, the early versions of which predate the Seven Years' War and American Revolutionary War. It is often sung patriotically in the United States today. It is the state song of the U.S. state of Connecticut. Its Roud Folk Song Index number is 4501.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: How does Yankee Doodle explain its abstract?

"Yankee Doodle" is a traditional song and nursery rhyme, the early versions of which predate the Seven Years' War and American Revolutionary War. It is often sung patriotically in the United States today. It is the state song of the U.S. state of Connecticut. Its Roud Folk Song Index number is 4501.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: In Yankee Doodle, how is the abstract discussed?

"Yankee Doodle" is a traditional song and nursery rhyme, the early versions of which predate the Seven Years' War and American Revolutionary War. It is often sung patriotically in the United States today. It is the state song of the U.S. state of Connecticut. Its Roud Folk Song Index number is 4501.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Focus on Yankee Doodle and explain the Origin.

The tune of "Yankee Doodle" is thought to be much older than the lyrics, being well known across western Europe, including England, France, Netherlands, Hungary, and Spain. The melody of the song may have originated from an Irish tune "All the way to Galway" in which the second strain is identical to Yankee Doodle. There are rumors that the earliest words of "Yankee Doodle" came from a Middle Dutch harvest song which is thought to have followed the same tune, supposedly dating back as far as 15th-century Holland. It supposedly contained mostly nonsense words in English and Dutch: "Yanker, didel, doodle down, Diddle, dudel, lanther, Yanke viver, voover vown, Botermilk und tanther." Farm laborers in Holland were paid "as much buttermilk (Botermelk) as they could drink, and a tenth (tanther) of the grain".The term Doodle first appeared in English in the early 17th century and is thought to be derived from the Low German dudel, meaning "playing music badly", or Dödel, meaning "fool" or "simpleton". The Macaroni wig was an extreme fashion in the 1770s and became slang for being a fop.  Dandies were men who placed particular importance upon physical appearance, refined language, and leisure hobbies. A self-made dandy was a  British middle-class man who impersonated an aristocratic lifestyle. They notably wore silk strip cloth, stuck feathers in their hats, and carried two pocket watches with chains—"one to tell what time it was and the other to tell what time it was not".The macaroni wig was an example of such Rococo dandy fashion, popular in elite circles in Western Europe and much mocked in the London press. The term macaroni was used to describe a fashionable man who dressed and spoke in an outlandishly affected and effeminate manner. The term pejoratively referred to a man who "exceeded the ordinary bounds of fashion" in terms of clothes, fastidious eating, and gambling.In British conversation, the term "Yankee doodle dandy" implied unsophisticated misappropriation of upper-class fashion, as though simply sticking a feather in one's cap would transform the wearer into a noble. Peter McNeil, a professor of fashion studies, claims that the British were insinuating that the colonists were lower-class men who lacked masculinity, emphasizing that the American men were womanly.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Explain the Origin of this artwork, Yankee Doodle.

The tune of "Yankee Doodle" is thought to be much older than the lyrics, being well known across western Europe, including England, France, Netherlands, Hungary, and Spain. The melody of the song may have originated from an Irish tune "All the way to Galway" in which the second strain is identical to Yankee Doodle. There are rumors that the earliest words of "Yankee Doodle" came from a Middle Dutch harvest song which is thought to have followed the same tune, supposedly dating back as far as 15th-century Holland. It supposedly contained mostly nonsense words in English and Dutch: "Yanker, didel, doodle down, Diddle, dudel, lanther, Yanke viver, voover vown, Botermilk und tanther." Farm laborers in Holland were paid "as much buttermilk (Botermelk) as they could drink, and a tenth (tanther) of the grain".The term Doodle first appeared in English in the early 17th century and is thought to be derived from the Low German dudel, meaning "playing music badly", or Dödel, meaning "fool" or "simpleton". The Macaroni wig was an extreme fashion in the 1770s and became slang for being a fop.  Dandies were men who placed particular importance upon physical appearance, refined language, and leisure hobbies. A self-made dandy was a  British middle-class man who impersonated an aristocratic lifestyle. They notably wore silk strip cloth, stuck feathers in their hats, and carried two pocket watches with chains—"one to tell what time it was and the other to tell what time it was not".The macaroni wig was an example of such Rococo dandy fashion, popular in elite circles in Western Europe and much mocked in the London press. The term macaroni was used to describe a fashionable man who dressed and spoke in an outlandishly affected and effeminate manner. The term pejoratively referred to a man who "exceeded the ordinary bounds of fashion" in terms of clothes, fastidious eating, and gambling.In British conversation, the term "Yankee doodle dandy" implied unsophisticated misappropriation of upper-class fashion, as though simply sticking a feather in one's cap would transform the wearer into a noble. Peter McNeil, a professor of fashion studies, claims that the British were insinuating that the colonists were lower-class men who lacked masculinity, emphasizing that the American men were womanly.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: How does Yankee Doodle explain its Origin?

The tune of "Yankee Doodle" is thought to be much older than the lyrics, being well known across western Europe, including England, France, Netherlands, Hungary, and Spain. The melody of the song may have originated from an Irish tune "All the way to Galway" in which the second strain is identical to Yankee Doodle. There are rumors that the earliest words of "Yankee Doodle" came from a Middle Dutch harvest song which is thought to have followed the same tune, supposedly dating back as far as 15th-century Holland. It supposedly contained mostly nonsense words in English and Dutch: "Yanker, didel, doodle down, Diddle, dudel, lanther, Yanke viver, voover vown, Botermilk und tanther." Farm laborers in Holland were paid "as much buttermilk (Botermelk) as they could drink, and a tenth (tanther) of the grain".The term Doodle first appeared in English in the early 17th century and is thought to be derived from the Low German dudel, meaning "playing music badly", or Dödel, meaning "fool" or "simpleton". The Macaroni wig was an extreme fashion in the 1770s and became slang for being a fop.  Dandies were men who placed particular importance upon physical appearance, refined language, and leisure hobbies. A self-made dandy was a  British middle-class man who impersonated an aristocratic lifestyle. They notably wore silk strip cloth, stuck feathers in their hats, and carried two pocket watches with chains—"one to tell what time it was and the other to tell what time it was not".The macaroni wig was an example of such Rococo dandy fashion, popular in elite circles in Western Europe and much mocked in the London press. The term macaroni was used to describe a fashionable man who dressed and spoke in an outlandishly affected and effeminate manner. The term pejoratively referred to a man who "exceeded the ordinary bounds of fashion" in terms of clothes, fastidious eating, and gambling.In British conversation, the term "Yankee doodle dandy" implied unsophisticated misappropriation of upper-class fashion, as though simply sticking a feather in one's cap would transform the wearer into a noble. Peter McNeil, a professor of fashion studies, claims that the British were insinuating that the colonists were lower-class men who lacked masculinity, emphasizing that the American men were womanly.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: In Yankee Doodle, how is the Origin discussed?

The tune of "Yankee Doodle" is thought to be much older than the lyrics, being well known across western Europe, including England, France, Netherlands, Hungary, and Spain. The melody of the song may have originated from an Irish tune "All the way to Galway" in which the second strain is identical to Yankee Doodle. There are rumors that the earliest words of "Yankee Doodle" came from a Middle Dutch harvest song which is thought to have followed the same tune, supposedly dating back as far as 15th-century Holland. It supposedly contained mostly nonsense words in English and Dutch: "Yanker, didel, doodle down, Diddle, dudel, lanther, Yanke viver, voover vown, Botermilk und tanther." Farm laborers in Holland were paid "as much buttermilk (Botermelk) as they could drink, and a tenth (tanther) of the grain".The term Doodle first appeared in English in the early 17th century and is thought to be derived from the Low German dudel, meaning "playing music badly", or Dödel, meaning "fool" or "simpleton". The Macaroni wig was an extreme fashion in the 1770s and became slang for being a fop.  Dandies were men who placed particular importance upon physical appearance, refined language, and leisure hobbies. A self-made dandy was a  British middle-class man who impersonated an aristocratic lifestyle. They notably wore silk strip cloth, stuck feathers in their hats, and carried two pocket watches with chains—"one to tell what time it was and the other to tell what time it was not".The macaroni wig was an example of such Rococo dandy fashion, popular in elite circles in Western Europe and much mocked in the London press. The term macaroni was used to describe a fashionable man who dressed and spoke in an outlandishly affected and effeminate manner. The term pejoratively referred to a man who "exceeded the ordinary bounds of fashion" in terms of clothes, fastidious eating, and gambling.In British conversation, the term "Yankee doodle dandy" implied unsophisticated misappropriation of upper-class fashion, as though simply sticking a feather in one's cap would transform the wearer into a noble. Peter McNeil, a professor of fashion studies, claims that the British were insinuating that the colonists were lower-class men who lacked masculinity, emphasizing that the American men were womanly.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: In the context of Yankee Doodle, explain the Early versions and the Origin.

The song was a pre-Revolutionary War song originally sung by British military officers to mock the disheveled, disorganized colonial "Yankees" with whom they served in the French and Indian War. It was written at Fort Crailo around 1755 by British Army surgeon Richard Shuckburgh while campaigning in Rensselaer, New York. The British troops sang it to mock their stereotype of the American soldier as a Yankee simpleton who thought that he was stylish if he simply stuck a feather in his cap. It was also popular among the Americans as a song of defiance, and they added verses to it that mocked the British and hailed George Washington as the Commander of the Continental army. By 1781, "Yankee Doodle" had turned from being an insult to being a song of national pride.According to one account, Shuckburgh wrote the original lyrics after seeing the appearance of Colonial troops under Colonel Thomas Fitch, the son of Connecticut Governor Thomas Fitch. According to the Online Etymology Dictionary, "the current version seems to have been written in 1776 by Edward Bangs, a Harvard sophomore who also was a Minuteman." He wrote a ballad with 15 verses which circulated in Boston and surrounding towns in 1775 or 1776.A bill was introduced to the House of Representatives on July 25, 1999, recognizing Billerica, Massachusetts, as "America's Yankee Doodle Town". After the Battle of Lexington and Concord, a Boston newspaper reported:Upon their return to Boston [pursued by the Minutemen], one [Briton] asked his brother officer how he liked the tune now, – "Dang them", returned he, "they made us dance it till we were tired" – since which Yankee Doodle sounds less sweet to their ears.The earliest known version of the lyrics comes from 1755 or 1758 (the date of origin is disputed):The sheet music which accompanies these lyrics reads, "The Words to be Sung through the Nose, & in the West Country drawl & dialect." The tune also appeared in 1762 in one of America's first comic operas The Disappointment, with bawdy lyrics about the search for Blackbeard's buried treasure by a team from Philadelphia. An alternate verse that the British are said to have marched to is attributed to an incident involving Thomas Ditson of Billerica, Massachusetts. Ditson attempted to purchase a Brown Bess musket from a British soldier in the 47th Regiment of Foot in Boston in March 1775; after a group of the soldier's comrades spotted the transaction as it was occurring, they tarred and feathered Ditson in order to prevent any such illegal purchases from happening in the future. Ditson eventually managed to secure a musket and fought at the Battles of Lexington and Concord. For this reason, the town of Billerica is called the home of "Yankee Doodle":Another pro-British set of lyrics believed to have used the tune was published in June 1775 following the Battle of Bunker Hill:"Yankee Doodle" was played at the British surrender at Saratoga in 1777. A variant is preserved in the 1810 edition of Gammer Gurton's Garland: Or, The Nursery Parnassus, collected by Francis Douce, now in the Bodleian Library, Oxford:

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Explain the Early versions about the Origin of this artwork, Yankee Doodle.

The song was a pre-Revolutionary War song originally sung by British military officers to mock the disheveled, disorganized colonial "Yankees" with whom they served in the French and Indian War. It was written at Fort Crailo around 1755 by British Army surgeon Richard Shuckburgh while campaigning in Rensselaer, New York. The British troops sang it to mock their stereotype of the American soldier as a Yankee simpleton who thought that he was stylish if he simply stuck a feather in his cap. It was also popular among the Americans as a song of defiance, and they added verses to it that mocked the British and hailed George Washington as the Commander of the Continental army. By 1781, "Yankee Doodle" had turned from being an insult to being a song of national pride.According to one account, Shuckburgh wrote the original lyrics after seeing the appearance of Colonial troops under Colonel Thomas Fitch, the son of Connecticut Governor Thomas Fitch. According to the Online Etymology Dictionary, "the current version seems to have been written in 1776 by Edward Bangs, a Harvard sophomore who also was a Minuteman." He wrote a ballad with 15 verses which circulated in Boston and surrounding towns in 1775 or 1776.A bill was introduced to the House of Representatives on July 25, 1999, recognizing Billerica, Massachusetts, as "America's Yankee Doodle Town". After the Battle of Lexington and Concord, a Boston newspaper reported:Upon their return to Boston [pursued by the Minutemen], one [Briton] asked his brother officer how he liked the tune now, – "Dang them", returned he, "they made us dance it till we were tired" – since which Yankee Doodle sounds less sweet to their ears.The earliest known version of the lyrics comes from 1755 or 1758 (the date of origin is disputed):The sheet music which accompanies these lyrics reads, "The Words to be Sung through the Nose, & in the West Country drawl & dialect." The tune also appeared in 1762 in one of America's first comic operas The Disappointment, with bawdy lyrics about the search for Blackbeard's buried treasure by a team from Philadelphia. An alternate verse that the British are said to have marched to is attributed to an incident involving Thomas Ditson of Billerica, Massachusetts. Ditson attempted to purchase a Brown Bess musket from a British soldier in the 47th Regiment of Foot in Boston in March 1775; after a group of the soldier's comrades spotted the transaction as it was occurring, they tarred and feathered Ditson in order to prevent any such illegal purchases from happening in the future. Ditson eventually managed to secure a musket and fought at the Battles of Lexington and Concord. For this reason, the town of Billerica is called the home of "Yankee Doodle":Another pro-British set of lyrics believed to have used the tune was published in June 1775 following the Battle of Bunker Hill:"Yankee Doodle" was played at the British surrender at Saratoga in 1777. A variant is preserved in the 1810 edition of Gammer Gurton's Garland: Or, The Nursery Parnassus, collected by Francis Douce, now in the Bodleian Library, Oxford:

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: In Yankee Doodle, how is the Early versions of the Origin explained?

The song was a pre-Revolutionary War song originally sung by British military officers to mock the disheveled, disorganized colonial "Yankees" with whom they served in the French and Indian War. It was written at Fort Crailo around 1755 by British Army surgeon Richard Shuckburgh while campaigning in Rensselaer, New York. The British troops sang it to mock their stereotype of the American soldier as a Yankee simpleton who thought that he was stylish if he simply stuck a feather in his cap. It was also popular among the Americans as a song of defiance, and they added verses to it that mocked the British and hailed George Washington as the Commander of the Continental army. By 1781, "Yankee Doodle" had turned from being an insult to being a song of national pride.According to one account, Shuckburgh wrote the original lyrics after seeing the appearance of Colonial troops under Colonel Thomas Fitch, the son of Connecticut Governor Thomas Fitch. According to the Online Etymology Dictionary, "the current version seems to have been written in 1776 by Edward Bangs, a Harvard sophomore who also was a Minuteman." He wrote a ballad with 15 verses which circulated in Boston and surrounding towns in 1775 or 1776.A bill was introduced to the House of Representatives on July 25, 1999, recognizing Billerica, Massachusetts, as "America's Yankee Doodle Town". After the Battle of Lexington and Concord, a Boston newspaper reported:Upon their return to Boston [pursued by the Minutemen], one [Briton] asked his brother officer how he liked the tune now, – "Dang them", returned he, "they made us dance it till we were tired" – since which Yankee Doodle sounds less sweet to their ears.The earliest known version of the lyrics comes from 1755 or 1758 (the date of origin is disputed):The sheet music which accompanies these lyrics reads, "The Words to be Sung through the Nose, & in the West Country drawl & dialect." The tune also appeared in 1762 in one of America's first comic operas The Disappointment, with bawdy lyrics about the search for Blackbeard's buried treasure by a team from Philadelphia. An alternate verse that the British are said to have marched to is attributed to an incident involving Thomas Ditson of Billerica, Massachusetts. Ditson attempted to purchase a Brown Bess musket from a British soldier in the 47th Regiment of Foot in Boston in March 1775; after a group of the soldier's comrades spotted the transaction as it was occurring, they tarred and feathered Ditson in order to prevent any such illegal purchases from happening in the future. Ditson eventually managed to secure a musket and fought at the Battles of Lexington and Concord. For this reason, the town of Billerica is called the home of "Yankee Doodle":Another pro-British set of lyrics believed to have used the tune was published in June 1775 following the Battle of Bunker Hill:"Yankee Doodle" was played at the British surrender at Saratoga in 1777. A variant is preserved in the 1810 edition of Gammer Gurton's Garland: Or, The Nursery Parnassus, collected by Francis Douce, now in the Bodleian Library, Oxford:

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Describe the characteristics of the Early versions in Yankee Doodle's Origin.

The song was a pre-Revolutionary War song originally sung by British military officers to mock the disheveled, disorganized colonial "Yankees" with whom they served in the French and Indian War. It was written at Fort Crailo around 1755 by British Army surgeon Richard Shuckburgh while campaigning in Rensselaer, New York. The British troops sang it to mock their stereotype of the American soldier as a Yankee simpleton who thought that he was stylish if he simply stuck a feather in his cap. It was also popular among the Americans as a song of defiance, and they added verses to it that mocked the British and hailed George Washington as the Commander of the Continental army. By 1781, "Yankee Doodle" had turned from being an insult to being a song of national pride.According to one account, Shuckburgh wrote the original lyrics after seeing the appearance of Colonial troops under Colonel Thomas Fitch, the son of Connecticut Governor Thomas Fitch. According to the Online Etymology Dictionary, "the current version seems to have been written in 1776 by Edward Bangs, a Harvard sophomore who also was a Minuteman." He wrote a ballad with 15 verses which circulated in Boston and surrounding towns in 1775 or 1776.A bill was introduced to the House of Representatives on July 25, 1999, recognizing Billerica, Massachusetts, as "America's Yankee Doodle Town". After the Battle of Lexington and Concord, a Boston newspaper reported:Upon their return to Boston [pursued by the Minutemen], one [Briton] asked his brother officer how he liked the tune now, – "Dang them", returned he, "they made us dance it till we were tired" – since which Yankee Doodle sounds less sweet to their ears.The earliest known version of the lyrics comes from 1755 or 1758 (the date of origin is disputed):The sheet music which accompanies these lyrics reads, "The Words to be Sung through the Nose, & in the West Country drawl & dialect." The tune also appeared in 1762 in one of America's first comic operas The Disappointment, with bawdy lyrics about the search for Blackbeard's buried treasure by a team from Philadelphia. An alternate verse that the British are said to have marched to is attributed to an incident involving Thomas Ditson of Billerica, Massachusetts. Ditson attempted to purchase a Brown Bess musket from a British soldier in the 47th Regiment of Foot in Boston in March 1775; after a group of the soldier's comrades spotted the transaction as it was occurring, they tarred and feathered Ditson in order to prevent any such illegal purchases from happening in the future. Ditson eventually managed to secure a musket and fought at the Battles of Lexington and Concord. For this reason, the town of Billerica is called the home of "Yankee Doodle":Another pro-British set of lyrics believed to have used the tune was published in June 1775 following the Battle of Bunker Hill:"Yankee Doodle" was played at the British surrender at Saratoga in 1777. A variant is preserved in the 1810 edition of Gammer Gurton's Garland: Or, The Nursery Parnassus, collected by Francis Douce, now in the Bodleian Library, Oxford:

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Focus on Yankee Doodle and explain the Full version.

The full version of the song as it is known today:

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Explain the Full version of this artwork, Yankee Doodle.

The full version of the song as it is known today:

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: How does Yankee Doodle explain its Full version?

The full version of the song as it is known today:

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: In Yankee Doodle, how is the Full version discussed?

The full version of the song as it is known today:

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Focus on Yankee Doodle and explain the Tune.

The tune shares with the English language nursery rhymes "Simple Simon", "Jack and Jill", and "Lucy Locket". It also inspired the theme tune for the children's television series, Barney & the Backyard Gang, Barney & Friends, and the 1960s US cartoon series Roger Ramjet. Danish band Toy-Box sampled the tune in their song "E.T".

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Explain the Tune of this artwork, Yankee Doodle.

The tune shares with the English language nursery rhymes "Simple Simon", "Jack and Jill", and "Lucy Locket". It also inspired the theme tune for the children's television series, Barney & the Backyard Gang, Barney & Friends, and the 1960s US cartoon series Roger Ramjet. Danish band Toy-Box sampled the tune in their song "E.T".

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: How does Yankee Doodle explain its Tune?

The tune shares with the English language nursery rhymes "Simple Simon", "Jack and Jill", and "Lucy Locket". It also inspired the theme tune for the children's television series, Barney & the Backyard Gang, Barney & Friends, and the 1960s US cartoon series Roger Ramjet. Danish band Toy-Box sampled the tune in their song "E.T".

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: In Yankee Doodle, how is the Tune discussed?

The tune shares with the English language nursery rhymes "Simple Simon", "Jack and Jill", and "Lucy Locket". It also inspired the theme tune for the children's television series, Barney & the Backyard Gang, Barney & Friends, and the 1960s US cartoon series Roger Ramjet. Danish band Toy-Box sampled the tune in their song "E.T".

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Focus on Yankee Doodle and explain the Notable renditions.

The American state broadcaster Voice of America (VOA) uses the tune of Yankee Doodle as their interval signal. There is uncertainty over the origin of the VOA's decision to use the tune. In his 1990 memoir Being Red, Howard Fast claimed that while working as the VOA's chief news writer and news director in 1943, he selected "as a joke" Yankee Doodle for the broadcaster's interval signal. I established contact at the Soviet embassy with people who spoke English and were willing to feed me important bits and pieces from their side of the wire. I had long ago, somewhat facetiously, suggested “Yankee Doodle” as our musical signal, and now that silly little jingle was a power cue, a note of hope everywhere on earth, conveyed by short wave as well as by our four-hour American BBC. When I sat down to write “Good morning, this is the Voice of America,” I now has a grasp of things.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: Explain the Notable renditions of this artwork, Yankee Doodle.

The American state broadcaster Voice of America (VOA) uses the tune of Yankee Doodle as their interval signal. There is uncertainty over the origin of the VOA's decision to use the tune. In his 1990 memoir Being Red, Howard Fast claimed that while working as the VOA's chief news writer and news director in 1943, he selected "as a joke" Yankee Doodle for the broadcaster's interval signal. I established contact at the Soviet embassy with people who spoke English and were willing to feed me important bits and pieces from their side of the wire. I had long ago, somewhat facetiously, suggested “Yankee Doodle” as our musical signal, and now that silly little jingle was a power cue, a note of hope everywhere on earth, conveyed by short wave as well as by our four-hour American BBC. When I sat down to write “Good morning, this is the Voice of America,” I now has a grasp of things.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: How does Yankee Doodle explain its Notable renditions?

The American state broadcaster Voice of America (VOA) uses the tune of Yankee Doodle as their interval signal. There is uncertainty over the origin of the VOA's decision to use the tune. In his 1990 memoir Being Red, Howard Fast claimed that while working as the VOA's chief news writer and news director in 1943, he selected "as a joke" Yankee Doodle for the broadcaster's interval signal. I established contact at the Soviet embassy with people who spoke English and were willing to feed me important bits and pieces from their side of the wire. I had long ago, somewhat facetiously, suggested “Yankee Doodle” as our musical signal, and now that silly little jingle was a power cue, a note of hope everywhere on earth, conveyed by short wave as well as by our four-hour American BBC. When I sat down to write “Good morning, this is the Voice of America,” I now has a grasp of things.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Yankee Doodle

Prompt: In Yankee Doodle, how is the Notable renditions discussed?

The American state broadcaster Voice of America (VOA) uses the tune of Yankee Doodle as their interval signal. There is uncertainty over the origin of the VOA's decision to use the tune. In his 1990 memoir Being Red, Howard Fast claimed that while working as the VOA's chief news writer and news director in 1943, he selected "as a joke" Yankee Doodle for the broadcaster's interval signal. I established contact at the Soviet embassy with people who spoke English and were willing to feed me important bits and pieces from their side of the wire. I had long ago, somewhat facetiously, suggested “Yankee Doodle” as our musical signal, and now that silly little jingle was a power cue, a note of hope everywhere on earth, conveyed by short wave as well as by our four-hour American BBC. When I sat down to write “Good morning, this is the Voice of America,” I now has a grasp of things.

Category:Fictional characters from Connecticut

British soldiers in the eighteenth century

Category:Songs about fictional male characters

Category:Songs based on American history

Category:Works about the French and Indian War

Purchase of commissions in the British Army

File:Philip Dawe, The Macaroni. A Real Character at the Late Masquerade (1773).jpg

"The Macaroni. A real Character at the late Masquerade", a 1773 [[mezzotint

Category:Songs of the American Revolutionary War

Category:Tarring and feathering in the United States

Category:Songs of the American Civil War


Augustus of Prima Porta

Prompt: Focus on Augustus of Prima Porta and explain the abstract.

The Augustus of Prima Porta (Italian: Augusto di Prima Porta) is a full-length portrait statue of Augustus, the first Roman emperor.The statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta. Livia had retired to the villa after Augustus's death in AD 14. The statue was discovered in 1863 and first publicized by the German archeologist Wilhelm Henzen in the same year.Crafted by skilled Greek sculptors, the marble statue is believed to be a copy of a lost original bronze piece displayed in Rome. It blends Greek and Roman elements to craft an official image of Augustus, showcasing his grasp of visual influence. While the head portrays a realistic youthful Augustus, the body diverges from reality; despite its clothed form, it resembles the heroic stance found in Greek statues. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The statue stands 2.08 metres (6 ft 10 in) tall and weighs 1,000 kilograms (2,200 lb).The Augustus of Prima Porta is now displayed in the Braccio Nuovo (New Arm) of the Vatican Museums. Since its discovery, it has become the best known of Augustus' portraits and one of the most famous sculptures of the ancient world.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums


Augustus of Prima Porta

Prompt: Explain the abstract of this artwork, Augustus of Prima Porta.

The Augustus of Prima Porta (Italian: Augusto di Prima Porta) is a full-length portrait statue of Augustus, the first Roman emperor.The statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta. Livia had retired to the villa after Augustus's death in AD 14. The statue was discovered in 1863 and first publicized by the German archeologist Wilhelm Henzen in the same year.Crafted by skilled Greek sculptors, the marble statue is believed to be a copy of a lost original bronze piece displayed in Rome. It blends Greek and Roman elements to craft an official image of Augustus, showcasing his grasp of visual influence. While the head portrays a realistic youthful Augustus, the body diverges from reality; despite its clothed form, it resembles the heroic stance found in Greek statues. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The statue stands 2.08 metres (6 ft 10 in) tall and weighs 1,000 kilograms (2,200 lb).The Augustus of Prima Porta is now displayed in the Braccio Nuovo (New Arm) of the Vatican Museums. Since its discovery, it has become the best known of Augustus' portraits and one of the most famous sculptures of the ancient world.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums


Augustus of Prima Porta

Prompt: How does Augustus of Prima Porta explain its abstract?

The Augustus of Prima Porta (Italian: Augusto di Prima Porta) is a full-length portrait statue of Augustus, the first Roman emperor.The statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta. Livia had retired to the villa after Augustus's death in AD 14. The statue was discovered in 1863 and first publicized by the German archeologist Wilhelm Henzen in the same year.Crafted by skilled Greek sculptors, the marble statue is believed to be a copy of a lost original bronze piece displayed in Rome. It blends Greek and Roman elements to craft an official image of Augustus, showcasing his grasp of visual influence. While the head portrays a realistic youthful Augustus, the body diverges from reality; despite its clothed form, it resembles the heroic stance found in Greek statues. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The statue stands 2.08 metres (6 ft 10 in) tall and weighs 1,000 kilograms (2,200 lb).The Augustus of Prima Porta is now displayed in the Braccio Nuovo (New Arm) of the Vatican Museums. Since its discovery, it has become the best known of Augustus' portraits and one of the most famous sculptures of the ancient world.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums


Augustus of Prima Porta

Prompt: In Augustus of Prima Porta, how is the abstract discussed?

The Augustus of Prima Porta (Italian: Augusto di Prima Porta) is a full-length portrait statue of Augustus, the first Roman emperor.The statue was discovered on April 20, 1863, during archaeological excavations directed by Giuseppe Gagliardi at the Villa of Livia owned by Augustus' third and final wife, Livia Drusilla in Prima Porta. Livia had retired to the villa after Augustus's death in AD 14. The statue was discovered in 1863 and first publicized by the German archeologist Wilhelm Henzen in the same year.Crafted by skilled Greek sculptors, the marble statue is believed to be a copy of a lost original bronze piece displayed in Rome. It blends Greek and Roman elements to craft an official image of Augustus, showcasing his grasp of visual influence. While the head portrays a realistic youthful Augustus, the body diverges from reality; despite its clothed form, it resembles the heroic stance found in Greek statues. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The statue stands 2.08 metres (6 ft 10 in) tall and weighs 1,000 kilograms (2,200 lb).The Augustus of Prima Porta is now displayed in the Braccio Nuovo (New Arm) of the Vatican Museums. Since its discovery, it has become the best known of Augustus' portraits and one of the most famous sculptures of the ancient world.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums


Augustus of Prima Porta

Prompt: Focus on Augustus of Prima Porta and explain the Original.

The imagery on the lorica musculata cuirass (typical of legates) refers to the Parthian restitution of the Roman eagles, or insignia, in 20 BC, one of Augustus' most significant diplomatic accomplishments. The date of the (hypothetical) bronze original is therefore later than 20 BC. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The fact that Augustus is depicted barefooted is intended to be a divine representation, as this was a standard depiction of gods or heroes in classical iconography. The date of the marble copy would presumably fall between that date and Livia's death in AD 29.The statue might have been commissioned by Tiberius, the son of Livia and successor to Augustus. This hypothesis is based on the fact that Tiberius, who served as an intermediary in the recovery of the eagles, is also depicted on the cuirass. As this act was the greatest service he had performed for Augustus, the breastplate imagery would remind viewers of Tiberius's connection to the deified emperor and suggest continuity between both reigns. It is also possible that it was commissioned by Livia herself, Augustus's wife at the time of his death.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums


Augustus of Prima Porta

Prompt: Explain the Original of this artwork, Augustus of Prima Porta.

The imagery on the lorica musculata cuirass (typical of legates) refers to the Parthian restitution of the Roman eagles, or insignia, in 20 BC, one of Augustus' most significant diplomatic accomplishments. The date of the (hypothetical) bronze original is therefore later than 20 BC. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The fact that Augustus is depicted barefooted is intended to be a divine representation, as this was a standard depiction of gods or heroes in classical iconography. The date of the marble copy would presumably fall between that date and Livia's death in AD 29.The statue might have been commissioned by Tiberius, the son of Livia and successor to Augustus. This hypothesis is based on the fact that Tiberius, who served as an intermediary in the recovery of the eagles, is also depicted on the cuirass. As this act was the greatest service he had performed for Augustus, the breastplate imagery would remind viewers of Tiberius's connection to the deified emperor and suggest continuity between both reigns. It is also possible that it was commissioned by Livia herself, Augustus's wife at the time of his death.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums


Augustus of Prima Porta

Prompt: How does Augustus of Prima Porta explain its Original?

The imagery on the lorica musculata cuirass (typical of legates) refers to the Parthian restitution of the Roman eagles, or insignia, in 20 BC, one of Augustus' most significant diplomatic accomplishments. The date of the (hypothetical) bronze original is therefore later than 20 BC. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The fact that Augustus is depicted barefooted is intended to be a divine representation, as this was a standard depiction of gods or heroes in classical iconography. The date of the marble copy would presumably fall between that date and Livia's death in AD 29.The statue might have been commissioned by Tiberius, the son of Livia and successor to Augustus. This hypothesis is based on the fact that Tiberius, who served as an intermediary in the recovery of the eagles, is also depicted on the cuirass. As this act was the greatest service he had performed for Augustus, the breastplate imagery would remind viewers of Tiberius's connection to the deified emperor and suggest continuity between both reigns. It is also possible that it was commissioned by Livia herself, Augustus's wife at the time of his death.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums


Augustus of Prima Porta

Prompt: In Augustus of Prima Porta, how is the Original discussed?

The imagery on the lorica musculata cuirass (typical of legates) refers to the Parthian restitution of the Roman eagles, or insignia, in 20 BC, one of Augustus' most significant diplomatic accomplishments. The date of the (hypothetical) bronze original is therefore later than 20 BC. The detailed armor, depicting a Parthian returning standards to a Roman, symbolizes peace along the eastern frontier of the Roman Empire. The fact that Augustus is depicted barefooted is intended to be a divine representation, as this was a standard depiction of gods or heroes in classical iconography. The date of the marble copy would presumably fall between that date and Livia's death in AD 29.The statue might have been commissioned by Tiberius, the son of Livia and successor to Augustus. This hypothesis is based on the fact that Tiberius, who served as an intermediary in the recovery of the eagles, is also depicted on the cuirass. As this act was the greatest service he had performed for Augustus, the breastplate imagery would remind viewers of Tiberius's connection to the deified emperor and suggest continuity between both reigns. It is also possible that it was commissioned by Livia herself, Augustus's wife at the time of his death.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums


Augustus of Prima Porta

Prompt: Focus on Augustus of Prima Porta and explain the Style.

Augustus is shown in his role of imperator, the commander of the army, as thoracatus —or commander-in-chief of the Roman army (literally, thorax-wearer)—meaning the statue should form part of a commemorative monument to his latest victories; he is in military clothing, carrying a consular baton and raising his right hand in a rhetorical adlocutio pose, addressing the troops. The bas-reliefs on his armored cuirass have a complex allegorical and political agenda, alluding to diverse Roman deities, including Mars, god of war, as well as the personifications of the latest territories he conquered:  Hispania, Gaul, Germania, Parthia (that had humiliated Crassus, and here appears in the act of returning the standards captured from his legions); at the top, the chariot of the Sun illuminates Augustus's deeds.The statue is an idealized image of Augustus showing a standard pose of a Roman orator and based on the 5th-century BC statue of the Spear Bearer or Doryphoros by the sculptor Polykleitos. The Doryphoros's contrapposto stance, creating diagonals between tense and relaxed limbs, a feature typical of classical sculpture, is adapted here. The pose of the statue's legs is similar to Doryphoros. The right leg is taut, while the left leg is relaxed, as if the statue is moving forward. The misidentification of the Doryphoros in the Roman period as representing the warrior Achilles made the model all the more appropriate for this image. Despite the Republican influence in the portrait head, the overall style is closer to Hellenistic idealization than to the realism of Roman portraiture. The reason for this style shift is the acquisition of Greek art. Following each conquest, the Romans brought back large amounts of Greek art. This flow of Greek artifacts changed Romans' aesthetic tastes, and these art pieces were regarded as a symbol of wealth and status for the Roman upper class.Despite the accuracy with which Augustus' features are depicted (with his somber look and characteristic fringe), the distant and tranquil expression of his face has been idealized, as have the conventional contrapposto, the anatomical proportions and the deeply draped paludamentum or "cloth of the commander".  On the other hand, Augustus's barefootedness and the inclusion of Cupid riding a dolphin as structural support for the statue reveals his mythical connection to the goddess Venus (Cupid's mother) by way of his adopted father Julius Caesar. The clear Greek inspiration in style and symbol for official sculptural portraits, which under the Roman emperors became instruments of governmental propaganda, is a central part of the Augustan ideological campaign, a shift from the Roman Republican era iconography where old and wise features were seen as symbols of solemn character. Therefore, the Prima Porta statue marks a conscious reversal of iconography to the Greek classical and Hellenistic period, in which youth and strength were valued as signs of leadership, emulating heroes and culminating in Alexander the Great himself.  Such a statue's political function was very obvious—to show Rome that the emperor Augustus was an exceptional figure, comparable to the heroes worthy of being raised to divine status on Olympus, and the best man to govern Rome.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums


Augustus of Prima Porta

Prompt: Explain the Style of this artwork, Augustus of Prima Porta.

Augustus is shown in his role of imperator, the commander of the army, as thoracatus —or commander-in-chief of the Roman army (literally, thorax-wearer)—meaning the statue should form part of a commemorative monument to his latest victories; he is in military clothing, carrying a consular baton and raising his right hand in a rhetorical adlocutio pose, addressing the troops. The bas-reliefs on his armored cuirass have a complex allegorical and political agenda, alluding to diverse Roman deities, including Mars, god of war, as well as the personifications of the latest territories he conquered:  Hispania, Gaul, Germania, Parthia (that had humiliated Crassus, and here appears in the act of returning the standards captured from his legions); at the top, the chariot of the Sun illuminates Augustus's deeds.The statue is an idealized image of Augustus showing a standard pose of a Roman orator and based on the 5th-century BC statue of the Spear Bearer or Doryphoros by the sculptor Polykleitos. The Doryphoros's contrapposto stance, creating diagonals between tense and relaxed limbs, a feature typical of classical sculpture, is adapted here. The pose of the statue's legs is similar to Doryphoros. The right leg is taut, while the left leg is relaxed, as if the statue is moving forward. The misidentification of the Doryphoros in the Roman period as representing the warrior Achilles made the model all the more appropriate for this image. Despite the Republican influence in the portrait head, the overall style is closer to Hellenistic idealization than to the realism of Roman portraiture. The reason for this style shift is the acquisition of Greek art. Following each conquest, the Romans brought back large amounts of Greek art. This flow of Greek artifacts changed Romans' aesthetic tastes, and these art pieces were regarded as a symbol of wealth and status for the Roman upper class.Despite the accuracy with which Augustus' features are depicted (with his somber look and characteristic fringe), the distant and tranquil expression of his face has been idealized, as have the conventional contrapposto, the anatomical proportions and the deeply draped paludamentum or "cloth of the commander".  On the other hand, Augustus's barefootedness and the inclusion of Cupid riding a dolphin as structural support for the statue reveals his mythical connection to the goddess Venus (Cupid's mother) by way of his adopted father Julius Caesar. The clear Greek inspiration in style and symbol for official sculptural portraits, which under the Roman emperors became instruments of governmental propaganda, is a central part of the Augustan ideological campaign, a shift from the Roman Republican era iconography where old and wise features were seen as symbols of solemn character. Therefore, the Prima Porta statue marks a conscious reversal of iconography to the Greek classical and Hellenistic period, in which youth and strength were valued as signs of leadership, emulating heroes and culminating in Alexander the Great himself.  Such a statue's political function was very obvious—to show Rome that the emperor Augustus was an exceptional figure, comparable to the heroes worthy of being raised to divine status on Olympus, and the best man to govern Rome.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums


Augustus of Prima Porta

Prompt: How does Augustus of Prima Porta explain its Style?

Augustus is shown in his role of imperator, the commander of the army, as thoracatus —or commander-in-chief of the Roman army (literally, thorax-wearer)—meaning the statue should form part of a commemorative monument to his latest victories; he is in military clothing, carrying a consular baton and raising his right hand in a rhetorical adlocutio pose, addressing the troops. The bas-reliefs on his armored cuirass have a complex allegorical and political agenda, alluding to diverse Roman deities, including Mars, god of war, as well as the personifications of the latest territories he conquered:  Hispania, Gaul, Germania, Parthia (that had humiliated Crassus, and here appears in the act of returning the standards captured from his legions); at the top, the chariot of the Sun illuminates Augustus's deeds.The statue is an idealized image of Augustus showing a standard pose of a Roman orator and based on the 5th-century BC statue of the Spear Bearer or Doryphoros by the sculptor Polykleitos. The Doryphoros's contrapposto stance, creating diagonals between tense and relaxed limbs, a feature typical of classical sculpture, is adapted here. The pose of the statue's legs is similar to Doryphoros. The right leg is taut, while the left leg is relaxed, as if the statue is moving forward. The misidentification of the Doryphoros in the Roman period as representing the warrior Achilles made the model all the more appropriate for this image. Despite the Republican influence in the portrait head, the overall style is closer to Hellenistic idealization than to the realism of Roman portraiture. The reason for this style shift is the acquisition of Greek art. Following each conquest, the Romans brought back large amounts of Greek art. This flow of Greek artifacts changed Romans' aesthetic tastes, and these art pieces were regarded as a symbol of wealth and status for the Roman upper class.Despite the accuracy with which Augustus' features are depicted (with his somber look and characteristic fringe), the distant and tranquil expression of his face has been idealized, as have the conventional contrapposto, the anatomical proportions and the deeply draped paludamentum or "cloth of the commander".  On the other hand, Augustus's barefootedness and the inclusion of Cupid riding a dolphin as structural support for the statue reveals his mythical connection to the goddess Venus (Cupid's mother) by way of his adopted father Julius Caesar. The clear Greek inspiration in style and symbol for official sculptural portraits, which under the Roman emperors became instruments of governmental propaganda, is a central part of the Augustan ideological campaign, a shift from the Roman Republican era iconography where old and wise features were seen as symbols of solemn character. Therefore, the Prima Porta statue marks a conscious reversal of iconography to the Greek classical and Hellenistic period, in which youth and strength were valued as signs of leadership, emulating heroes and culminating in Alexander the Great himself.  Such a statue's political function was very obvious—to show Rome that the emperor Augustus was an exceptional figure, comparable to the heroes worthy of being raised to divine status on Olympus, and the best man to govern Rome.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums


Augustus of Prima Porta

Prompt: In Augustus of Prima Porta, how is the Style discussed?

Augustus is shown in his role of imperator, the commander of the army, as thoracatus —or commander-in-chief of the Roman army (literally, thorax-wearer)—meaning the statue should form part of a commemorative monument to his latest victories; he is in military clothing, carrying a consular baton and raising his right hand in a rhetorical adlocutio pose, addressing the troops. The bas-reliefs on his armored cuirass have a complex allegorical and political agenda, alluding to diverse Roman deities, including Mars, god of war, as well as the personifications of the latest territories he conquered:  Hispania, Gaul, Germania, Parthia (that had humiliated Crassus, and here appears in the act of returning the standards captured from his legions); at the top, the chariot of the Sun illuminates Augustus's deeds.The statue is an idealized image of Augustus showing a standard pose of a Roman orator and based on the 5th-century BC statue of the Spear Bearer or Doryphoros by the sculptor Polykleitos. The Doryphoros's contrapposto stance, creating diagonals between tense and relaxed limbs, a feature typical of classical sculpture, is adapted here. The pose of the statue's legs is similar to Doryphoros. The right leg is taut, while the left leg is relaxed, as if the statue is moving forward. The misidentification of the Doryphoros in the Roman period as representing the warrior Achilles made the model all the more appropriate for this image. Despite the Republican influence in the portrait head, the overall style is closer to Hellenistic idealization than to the realism of Roman portraiture. The reason for this style shift is the acquisition of Greek art. Following each conquest, the Romans brought back large amounts of Greek art. This flow of Greek artifacts changed Romans' aesthetic tastes, and these art pieces were regarded as a symbol of wealth and status for the Roman upper class.Despite the accuracy with which Augustus' features are depicted (with his somber look and characteristic fringe), the distant and tranquil expression of his face has been idealized, as have the conventional contrapposto, the anatomical proportions and the deeply draped paludamentum or "cloth of the commander".  On the other hand, Augustus's barefootedness and the inclusion of Cupid riding a dolphin as structural support for the statue reveals his mythical connection to the goddess Venus (Cupid's mother) by way of his adopted father Julius Caesar. The clear Greek inspiration in style and symbol for official sculptural portraits, which under the Roman emperors became instruments of governmental propaganda, is a central part of the Augustan ideological campaign, a shift from the Roman Republican era iconography where old and wise features were seen as symbols of solemn character. Therefore, the Prima Porta statue marks a conscious reversal of iconography to the Greek classical and Hellenistic period, in which youth and strength were valued as signs of leadership, emulating heroes and culminating in Alexander the Great himself.  Such a statue's political function was very obvious—to show Rome that the emperor Augustus was an exceptional figure, comparable to the heroes worthy of being raised to divine status on Olympus, and the best man to govern Rome.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums


Augustus of Prima Porta

Prompt: Focus on Augustus of Prima Porta and explain the Polychromy.

It is almost certain that the Augustus was originally painted, but so few traces remain today (having been lost in the ground and having faded since discovery) that historians have had to fall back on old watercolors and new scientific investigations for evidence. Vincenz Brinkmann of Munich researched the use of color on ancient sculpture in the 1980s using ultraviolet rays to find traces of color.Today, the Vatican Museums have produced a copy of the statue so as to paint it in the theorized original colors, as confirmed when the statue was cleaned in 1999. However, an art historian of the University of St Andrews in Scotland, Fabio Barry, has criticized this reconstitution as unsubtle and exaggerated, while other critics have argued that there are many notable differences between the original Prima Porta of Augustus and the painted recreation.However, due to the ongoing disagreement on the statue's pigmentation there is little information or exploration on the usage of these colors. Another copy was painted with a different color scheme for the Tarraco Viva 2014 Festival.Since at least the 18th century, the familiar sight of Roman sculptures that lack their original paint has encouraged the idea that monochromy is the natural condition for classical sculpture; but surface treatment is now recognized as integral to the overall effect of the sculpture.The writings of second-century polymath Lucian provide a good example of how color functioned for a work of that time, "I Fear I stand in the way of her most important feature!... the rest of the body let Apelles represent.. not too white but diffused with blood." The quote continues to state that a statue of the time is unfinished without its "chora"—skin—or layer, applied to the statue to render it complete. The specific implications of each color chosen for the Prima Porta are unknown; assumedly red for the military and royalty.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums


Augustus of Prima Porta

Prompt: Explain the Polychromy of this artwork, Augustus of Prima Porta.

It is almost certain that the Augustus was originally painted, but so few traces remain today (having been lost in the ground and having faded since discovery) that historians have had to fall back on old watercolors and new scientific investigations for evidence. Vincenz Brinkmann of Munich researched the use of color on ancient sculpture in the 1980s using ultraviolet rays to find traces of color.Today, the Vatican Museums have produced a copy of the statue so as to paint it in the theorized original colors, as confirmed when the statue was cleaned in 1999. However, an art historian of the University of St Andrews in Scotland, Fabio Barry, has criticized this reconstitution as unsubtle and exaggerated, while other critics have argued that there are many notable differences between the original Prima Porta of Augustus and the painted recreation.However, due to the ongoing disagreement on the statue's pigmentation there is little information or exploration on the usage of these colors. Another copy was painted with a different color scheme for the Tarraco Viva 2014 Festival.Since at least the 18th century, the familiar sight of Roman sculptures that lack their original paint has encouraged the idea that monochromy is the natural condition for classical sculpture; but surface treatment is now recognized as integral to the overall effect of the sculpture.The writings of second-century polymath Lucian provide a good example of how color functioned for a work of that time, "I Fear I stand in the way of her most important feature!... the rest of the body let Apelles represent.. not too white but diffused with blood." The quote continues to state that a statue of the time is unfinished without its "chora"—skin—or layer, applied to the statue to render it complete. The specific implications of each color chosen for the Prima Porta are unknown; assumedly red for the military and royalty.

Category:Archaeological discoveries in Italy

File:Augusto di pirma porta, inv. 2290, 02.JPG

Modern painted replica of the statue in Braga, Portugal

Painted replica of Augustus of Prima Porta statue prepared for the Tarraco Viva 2014 Festival.

Category:Augustus in ancient Roman sculpture

Category:Sculptures in the Vatican Museums