Podcasts about roman art

November 14th, 332 BCE. Alexander the Great has conquered an unprecedented amount of territory in a relatively short amount of time. At just 24 years old, he's in control of Macedonia, much of Greece, and now, a huge part of Egypt. But Alexander doesn't want to just conquer each of these places - he wants to rule. And in a rare move for Macedonian royalty, he wants to rule in a way that honors local customs, allowing him to be seen as not just a king, but in some areas, as some kind of divine figure. So today, the ancient Egyptians will crown Alexander as a pharaoh. This is one in a long line of victories for Alexander the Great. However, in his often-overlooked later years, his luck starts to change. As Alexander continues his quest to reach the end of the known world, and his ambition reaches mythical heights, how will his unparalleled success come to an end? Special thanks to Rachel Kousser, professor of Greek and Roman Art and Archaeology at the City University of New York and author of Alexander at the End of the World: The Forgotten Final Years of Alexander the Great. To stay updated: historythisweekpodcast.com To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

I speak with Rachel Kousser, a professor of Greek and Roman Art and Architecture at Brooklyn College and the CUNY Graduate Center. She is also the author of the recent book, which received widespread rave reviews, Alexander at the End of the World -- about the last seven years of the life of Alexander the Great.   In addition to this great new book, Rachel recommends: Plutarch's Biography of Alexander the Great Stacey Schiff's book Cleopatra

"Jesus said to Nicodemus: “Just as Moses lifted up the serpent in the desert, so must the Son of Man be lifted up, so that everyone who believes in him may have eternal life.” John 3 If we are not fulfilled in this life, maybe it means we are made for another like. God loves us in while in our sins. Can we respond and begin the journey home? This week on OVC. The artwork is Greek and Roman Art, aCarnelian ring stone with Asclepius, the god of medicine, Roman, ca. 1st century BCE–3rd century CE, On view at The Met Fifth Avenue in Gallery 166 This Roman intaglio is engraved with the bust of Asklepios, the hero and god of healing. As on this gemstone, he generally appears as a mature, bearded man accompanied by a snake. Readings: https://bible.usccb.org/bible/readings/031024-YearB.cfm Music: Music by St. Mark Choir pursuant to One License Annual License w/Podcasting # A-726294

The Dildo Episode The Lesbian Historic Motif Podcast - Episode 278 with Heather Rose Jones In this episode we talk about: The cultural dynamics of dildo use A history of dildos in western culture The social and legal consequences of dildo use Terminology and materials of construction Sources usedArvas, Abdulhamit. 2014. “From the Pervert, Back to the Beloved: Homosexuality and Ottoman Literary History, 11453-1923” in The Cambridge History of Gay and Lesbian Literature ed. E.L. McCallum & Mikko Tuhkanen. Cambridge University Press, New York. ISBN 978-1-107-03521-8 Auanger, Lisa. “Glimpses through a Window: An Approach to Roman Female Homoeroticism through Art Historical and Literary Evidence” in Rabinowitz, Nancy Sorkin & Lisa Auanger eds. 2002. Among Women: From the Homosocial to the Homoerotic in the Ancient World. University of Texas Press, Austin. ISBN 0-29-77113-4 Benkov, Edith. “The Erased Lesbian: Sodomy and the Legal Tradition in Medieval Europe” in Same Sex Love and Desire Among Women in the Middle Ages. ed. by Francesca Canadé Sautman & Pamela Sheingorn. Palgrave, New York, 2001. Blake, Liza. 2011. “Dildos and Accessories: The Functions of Early Modern Strap-Ons” in Ornamentalism: The Art of Renaissance Accessories. University of Michigan Press. pp. 130-156 Boehringer, Sandra (trans. Anna Preger). 2021. Female Homosexuality in Ancient Greece and Rome. Routledge, New York. ISBN 978-0-367-74476-2 Bon, Ottaviano. 1587. Descrizione del serraglio del Gransignore. Translated by Robert Withers (1625) as The Grand Signiors Serraglio, published in: Hakluytus Posthumus, or Purchas his Pilgrimes edited by Samuel Purchas. Borris, Kenneth (ed). 2004. Same-Sex Desire in the English Renaissance: A Sourcebook of Texts, 1470-1650. Routledge, New York. ISBN 978-1-138-87953-9 Brantôme (Pierre de Bourdeille, seigneur de Brantôme). 1740. Vies des Dames Galantes. Garnier Frères, Libraires-Éditeurs, Paris. Burshatin, Israel. “Elena Alias Eleno: Genders, Sexualities, and ‘Race' in the Mirror of Natural History in Sixteenth-Century Spain” in Ramet, Sabrina Petra (ed). 1996. Gender Reversals and Gender Cultures: Anthropological and Historical Perspectives. Routledge, London. ISBN 0-415-11483-7 Castle, Terry (ed). 2003. The Literature of Lesbianism: A Historical Anthology from Ariosto to Stonewall. Columbia University Press, New York. ISBN 0-231-12510-0 Clark, Anna. 1996. "Anne Lister's construction of lesbian identity", Journal of the History of Sexuality, 7(1), pp. 23-50. Clarke, John R. 1998. Looking at Lovemaking: Constructions of Sexuality in Roman Art 100 B.C.-A.D. 250. University of California Press, Berkeley. ISBN 0-520-20024-1 Crompton, Louis. 1985. “The Myth of Lesbian Impunity: Capital Laws from 1270 to 1791” in Licata, Salvatore J. & Robert P. Petersen (eds). The Gay Past: A Collection of Historical Essays. Harrington Park Press, New York. ISBN 0-918393-11-6 (Also published as Journal of Homosexuality, Vol. 6, numbers 1/2, Fall/Winter 1980.) Donato, Clorinda. 2006. “Public and Private Negotiations of Gender in Eighteenth-Century England and Italy: Lady Mary Wortley Montagu and the Case of Catterina Vizzani” in British Journal for Eighteenth-Century Studies 29. pp.169-189 Donato, Clorinda. 2020. The Life and Legend of Catterina Vizzani: Sexual identity, science and sensationalism in eighteenth-century Italy and England. Voltaire Foundation, Oxford. ISBN 978-1-78962-221-8 Donoghue, Emma. 1995. Passions Between Women: British Lesbian Culture 1668-1801. Harper Perennial, New York. ISBN 0-06-017261-4 Eriksson, Brigitte. 1985. “A Lesbian Execution in Germany, 1721: The Trial Records” in Licata, Salvatore J. & Robert P. Petersen (eds). The Gay Past: A Collection of Historical Essays. Harrington Park Press, New York. ISBN 0-918393-11-6 (Also published as Journal of Homosexuality, Vol. 6, numbers 1/2, Fall/Winter 1980.) Faderman, Lillian. 1981. Surpassing the Love of Men. William Morrow and Company, Inc., New York. ISBN 0-688-00396-6 Halberstam, Judith (Jack). 1997. Female Masculinity. Duke University Press, Durham. ISBN 978-1-4780-0162-1 Haley, Shelley P. “Lucian's ‘Leaena and Clonarium': Voyeurism or a Challenge to Assumptions?” in Rabinowitz, Nancy Sorkin & Lisa Auanger eds. 2002. Among Women: From the Homosocial to the Homoerotic in the Ancient World. University of Texas Press, Austin. ISBN 0-29-77113-4 Hubbard, Thomas K. 2003. Homosexuality in Greece and Rome: A Sourcebook of Basic Documents. University of California Press, Berkeley. ISBN 978-0-520-23430-7 Karras, Ruth Mazo. 2005. Sexuality in Medieval Europe: Doing Unto Others. Routledge, New York. ISBN 978-0-415-28963-4 Klein, Ula Lukszo. 2021. Sapphic Crossings: Cross-Dressing Women in Eighteenth-Century British Literature. University of Virginia Press, Charlottesville. ISBN 978-0-8139-4551-4 Krimmer, Elisabeth. 2004. In the Company of Men: Cross-Dressed Women Around 1800. Wayne State University Press, Detroit. ISBN 0-8143-3145-9 Lansing, Carol. 2005. “Donna con Donna? A 1295 Inquest into Female Sodomy” in Studies in Medieval and Renaissance History: Sexuality and Culture in Medieval and Renaissance Europe, Third Series vol. II: 109-122. Lardinois, André. “Lesbian Sappho and Sappho of Lesbos” in Bremmer, Jan. 1989. From Sappho to de Sade: Moments in the History of Sexuality. London: Routledge. ISBN 0-415-02089-1 Linkinen, Tom. 2015. Same-sex Sexuality in Later Medieval English Culture. Amsterdam University Press, Amsterdam. ISBN 978-90-8964-629-3 Matter, E. Ann. 1989. “My Sister, My Spouse: Woman-Identified Women in Medieval Christianity” in Weaving the Visions: New Patterns in Feminist Spirituality, eds. Judith Plaskow & Carol P. Christ. Harper & Row, San Francisco. Michelsen, Jakob. 1996. “Von Kaufleuten, Waisenknaben und Frauen in Männerkleidern: Sodomie im Hamburg des 18. Jahrhunderts” in Zeitschrift für Sexualforschung 9: 226-27. Mills, Robert. 2015. Seeing Sodomy in the Middle Ages. The University of Chicago Press, Chicago. ISBN 978-0-226-16912-5 O'Driscoll, Sally. 2010. “A Crisis of Femininity: Re-Making Gender in Popular Discourse” in Lesbian Dames: Sapphism in the Long Eighteenth Century. Beynon, John C. & Caroline Gonda eds. Ashgate, Farnham. ISBN 978-0-7546-7335-4 Phillips, Kim M. & Barry Reay. 2011. Sex Before Sexuality: A Premodern History. Polity Press, Cambridge. ISBN 978-0-7456-2522-5 Rabinowitz, Nancy Sorkin. “Excavating Women's Homoeroticism in Ancient Greece: The Evidence from Attic Vase Painting” in Rabinowitz, Nancy Sorkin & Lisa Auanger eds. 2002. Among Women: From the Homosocial to the Homoerotic in the Ancient World. University of Texas Press, Austin. ISBN 0-29-77113-4 Rowson, Everett K. 1991. “The categorization of gender and sexual irregularity in medieval Arabic vice lists” in Body guards : the cultural politics of gender ambiguity edited by Julia Epstein & Kristina Straub. Routledge, New York. ISBN 0-415-90388-2 Schleiner, Winfried. “Cross-Dressing, Gender Errors, and Sexual Taboos in Renaissance Literature” in Ramet, Sabrina Petra (ed). 1996. Gender Reversals and Gender Cultures: Anthropological and Historical Perspectives. Routledge, London. ISBN 0-415-11483-7 Traub, Valerie. 1994. “The (In)Significance of ‘Lesbian' Desire in Early Modern England” in Queering the Renaissance ed. by Jonathan Goldberg. Duke University Press, Durham and London. ISBN 0-8223-1381-2 Traub, Valerie. 2002. The Renaissance of Lesbianism in Early Modern England. Cambridge University Press, Cambridge. ISBN 0-521-44885-9 Van der Meer, Theo. 1991. “Tribades on Trial: Female Same-Sex Offenders in Late Eighteenth-Century Amsterdam” in Journal of the History of Sexuality 1:3 424-445. Velasco, Sherry. 2011. Lesbians in Early Modern Spain. Vanderbilt University Press, Nashville. ISBN 978-0-8265-1750-0 Wahl, Elizabeth Susan. 1999. Invisible Relations: Representations of Female Intimacy in the Age of Enlightenment. Stanford University Press, Stanford. ISBN 0-8047-3650-2 Walen, Denise A. 2005. Constructions of Female Homoeroticism in Early Modern Drama. New York: Palgrave MacMillan. ISBN 978-1-4039-6875-3 This topic is discussed in one or more entries of the Lesbian Historic Motif Project here: Dildo A transcript of this podcast is available here. Links to the Lesbian Historic Motif Project Online Website: http://alpennia.com/lhmp Blog: http://alpennia.com/blog RSS: http://alpennia.com/blog/feed/ Twitter: @LesbianMotif Discord: Contact Heather for an invitation to the Alpennia/LHMP Discord server The Lesbian Historic Motif Project Patreon Links to Heather Online Website: http://alpennia.com Email: Heather Rose Jones Mastodon: @heatherrosejones@Wandering.Shop Bluesky: @heatherrosejones Facebook: Heather Rose Jones (author page)

This is Garrison Hardie with your CrossPolitic Daily News Brief for Thursday, April 6th, 2023. Hi Contrast Hymn Books If you don’t teach your kids the Lord’s songs, the world will teach them its songs. The brand-new Hi-Contrast Hymn Book is designed to help you teach your children the most beloved songs of the Christian faith. Its captivating illustrations will create special moments of truth, goodness, and beauty in your home every day. To get a copy for your family, go to www.hicontrasthymnbooks.com/FLF. That’s www. “H” “I” contrasthymnbooks.com/FLF. https://thepostmillennial.com/breaking-nashville-police-find-trans-school-shooters-suicide-note-refuse-to-release-details?utm_campaign=64487 Nashville police find trans school shooter's suicide note—refuse to release details The Metropolitan Nashville Police Department reportedly found a suicide note left by trans-identifying school shooter Audrey Hale during their search of the now deceased assailant's home. While authorities have confirmed that the note exists, its contents have not disclosed what it contains. According to NBC News, on Tuesday authorities released a list of items discovered at the home following the shooting. Among them were several journals, a shotgun, cellphones, laptops, and a suicide note. Old photos and yearbooks from The Covenant School, where Hale was a former student, were also recovered. The MNPD declined to provide further details regarding the contents of the note, a document which many have suggested could shine some light on the potential motive behind the mass shooting, which left six people dead. Officers did reveal, however, that many of the othe documents they found included notes about firearms courses and school shootings of the past. On Monday, police revealed that Hale planned the attack "over a period of months," and that she fired 152 rounds from the time she shot her way into the school until being killed by police. "The writings remain under careful review by the MNPD and the FBI's Behavioral Analysis Unit based in Quantico, Virginia. The motive for Hale’s actions has not been established and remains under investigation by the Homicide Unit in consultation with the FBI’s Behavioral Analysis Unit," MNPD wrote. Hale's manifesto has also been recovered, and its contents will reportedly be released to the public as soon as the FBI has analyzed it. https://www.theepochtimes.com/another-biden-administration-covid-19-vaccine-mandate-struck-down-by-court_5172256.html?utm_source=partner&utm_campaign=BonginoReport&src_src=partner&src_cmp=BonginoReport Another Biden Administration COVID-19 Vaccine Mandate Struck Down by Court President Joe Biden’s administration did not have the authority to impose a COVID-19 vaccine mandate on workers and volunteers in a federal childcare program, a U.S. judge has ruled. The Department of Health and Human Services (HHS) forced Head Start workers, and some volunteers, to get a COVID-19 vaccine starting in early 2022. Head Start provides childcare to children from low-income families. HHS cited the Head Start Act, which says the health secretary can add “administrative and financial management standards,” “standards relating to the condition and location of facilities (including indoor air quality assessment standards, where appropriate),” and “such other standards as the secretary finds to be appropriate.” Texas Attorney General Ken Paxton argued that the mandate was outside of the power granted by the act. The law “does not mention vaccinations,” he and other plaintiffs said in a brief. U.S. District Judge James Wesley Hendrix agreed. “The wisdom of Head Start’s rule is not before the Court—only its legality. If the people, through Congress, wish to impose a vaccine mandate on Head Start programs, they may do so by passing a law. But an agency can do only what Congress authorizes it to do,” Hendrix, a Trump appointee, said in his ruling. “Regardless of how well intentioned, HHS’s attempt here to shoehorn the vaccine mandate into statutory language authorizing modification of Head Start’s administrative, financial, and facility-management standards goes too far. Equally fatal to the rule is the agency’s decision to implement it without the necessary public notice and comment, consultation with stakeholders, and reasonable explanation,” he added. The ruling strikes down the mandate, which Biden’s administration had refused to rescind. The mandate had already been struck down in 24 states, per a 2022 ruling by a different judge. HHS and the U.S. Department of Justice did not respond to requests for comment. “I’m proud to announce that the Biden Administration’s attempt to use the Head Start program to mask toddlers and force the vaccine on staff and volunteers has now been permanently defeated,” Texas Attorney General Ken Paxton, a Republican and one of the plaintiffs, said in an emailed statement to The Epoch Times. In court filings, defendants had urged the judge not to block the mandate. The COVID-19 vaccines do not prevent transmission or infection, according to data from the U.S. Centers for Disease Control and Prevention, though observational data have indicated they have a small effect on both that might turn negative over time. The National Head Start Association, a nonprofit, welcomed the judge’s ruling. Head Start previously rescinded its mask mandate after months of lobbying from the nonprofit and others. It had mandated masks for children, workers, and volunteers. https://www.foxnews.com/politics/doj-reaches-ettlement-in-sutherland-springs-texas-shooting-civil-cases/ DOJ agrees to $144M settlement in Sutherland Springs shooting civil cases alleging background check negligence The Justice Department announced Wednesday it has reached a $144 million agreement in principle to settle civil cases stemming from a 2017 mass shooting at the First Baptist Church of Sutherland Springs, Texas, which left 26 dead. Officials said the settlements will resolve claims from more than 75 plaintiffs, who alleged "the Air Force was negligent when it failed to transmit to the National Instant Criminal Background Check System information about the shooter that would have prevented him from purchasing guns from a federally licensed firearms dealer." The gunman in the November 2017 attack, Devin Patrick Kelly, served in the Air Force. He died of an apparent self-inflicted gunshot wound. "No words or amount of money can diminish the immense tragedy of the mass shooting in Sutherland Springs," said Associate Attorney General Vanita Gupta. "Today’s announcement brings the litigation to a close, ending a painful chapter for the victims of this unthinkable crime." The Justice Department said Wednesday that a "federal district court in Texas concluded that the United States was liable for damages caused by the shooting." "The agreement in principle would settle all claims for a total of $144.5 million. The settlement agreement has been approved, subject to the plaintiffs’ securing the required court approvals," it added. "Under applicable law, a court must approve some aspects of the settlements." The Justice Department also said the "NICS plays a critical role in combatting gun violence, and the federal government is always striving to improve the functioning of that system." Kelley had served nearly five years in the Air Force before being discharged in 2014 for bad conduct, after he was convicted of assaulting a former wife and stepson, cracking the child’s skull. The Air Force has publicly acknowledged that the felony conviction for domestic violence, had it been put into the FBI database, could have prevented Kelley from buying guns from licensed firearms dealers, and also from possessing body armor. U.S. District Judge Xavier Rodriguez said in 2021 that had the government done its job and entered Kelley’s history into the database, "it is more likely than not that Kelley would have been deterred from carrying out the Church shooting." Kelley was shot at by two churchgoers who later pursued him. Officials said an autopsy determined Kelley was shot by Willeford twice. Now this!!! https://thenationalpulse.com/2023/04/03/city-council-considering-sale-of-biblical-roman-art-for-lack-of-diversity/ City Council Considering Sale of Biblical, Roman Art for ‘Lack of Diversity’ Acouncil in the English city of Oxford has announced that it will consider selling some of its Biblical art that decorates the town hall in an effort to “better reflect the gender and ethnic diversity of [the] city”. On Monday, March 20th, a Liberal Democratic councillor, Katherine Miles, submitted a motion to the council to have the artworks either removed or sold. The two paintings she demands be removed or sold are the Rape of the Sabine Women and Salome and Head of John the Baptist. The former depicts Roman mythology, whereas the latter is a biblical tale. Ms. Miles has been working on an initiative to increase the diversity and representation of the artwork in Oxford City Council since June 2021. She claims that the paintings depict “animal cruelty and gender-based violence”, as well as a lack of diversity. More specifically, she argues the artwork contains fox hunting, representations of death, and depictions of rape. In an interview with Oxford Mail, the newspaper that first reported the story, Ms. Miles reflected on the “lack of diversity,” stating, “[with] only three portraits in the town hall of women, it is high time the council redresses the existing lack of diversity within the town hall portraits to better reflect the gender and ethnic diversity of our city. Therefore, in her words, the collection has “no practical value to the city” nor a “clear link to Oxford”. Another Liberal Democrat councillor, Lawrence Fouweather, announced his support of the motion. He argues that the artwork could be sold to assist local residents in financial difficulties. “The Council,” he argues, “is running short of cash, and at the same time the cost of living crisis is thrusting many of our residents into tremendous hardship and poverty…this proposed one-off sale of select artworks from the city’s collection would help alleviate the dire plight of some of our most deprived residents”. Ms. Miles, on the other hand, has stated that “[s]elling any existing artwork not on display, and not becoming of a public institution, may be [sic] one way to fund the costs of any initiative to improve the decorations in the town hall”. One critic, Peter Whittle of the New Culture Forum in London, criticized the move, stating, “our culture continues to be dismantled by nobodies, morons and philistines”. No verdict has been made on the sale. A spokesman for Oxford City Council has publicly stated that, as for now, “there is no council position on this matter”. According to the Telegraph, “[d]iscussions about the diversity of public art in Oxford come after the city council created an “Anti-Racism Charter” in 2021, after pledging to tackle discrimination following Black Lives Matter protests the previous year.” https://www.foxnews.com/us/cash-app-founder-bob-lee-fatally-stabbed-san-francisco-report Cash App founder Bob Lee fatally stabbed in San Francisco Tech executive Bob Lee, founder of Cash App and the former chief technology officer of Square, was stabbed to death in San Francisco, California, according to reports. A 43-year-old man was attacked Tuesday at around 2:35 a.m., San Francisco Police said in a statement. Officers arrived at the scene on the 300 block of Main Street in response to the stabbing. The San Francisco medical examiner has not yet identified the victim, but Lee was later identified by his friends as the person stabbed, according to KPIX. Lee was rushed to the hospital to receive treatment for his life-threatening wounds, but he later succumbed to his injuries. No arrests have been made in connection with the stabbing as of Wednesday morning. The incident remains under investigation. Lee was the chief product officer of San Francisco-based cryptocurrency company MobileCoin. He previously worked at Google, where he led Android's core library team and launched "the world’s most used operating system," his profile on MobileCoin’s official website reads. The tech mogul also founded the social network Present, and invested in and advised other companies, including Figma, Clubhouse, Beeper and Faire. During the coronavirus pandemic, Lee helped the World Health Organization with their mobile app and led development for an at-home testing company.

This is Garrison Hardie with your CrossPolitic Daily News Brief for Thursday, April 6th, 2023. Hi Contrast Hymn Books If you don’t teach your kids the Lord’s songs, the world will teach them its songs. The brand-new Hi-Contrast Hymn Book is designed to help you teach your children the most beloved songs of the Christian faith. Its captivating illustrations will create special moments of truth, goodness, and beauty in your home every day. To get a copy for your family, go to www.hicontrasthymnbooks.com/FLF. That’s www. “H” “I” contrasthymnbooks.com/FLF. https://thepostmillennial.com/breaking-nashville-police-find-trans-school-shooters-suicide-note-refuse-to-release-details?utm_campaign=64487 Nashville police find trans school shooter's suicide note—refuse to release details The Metropolitan Nashville Police Department reportedly found a suicide note left by trans-identifying school shooter Audrey Hale during their search of the now deceased assailant's home. While authorities have confirmed that the note exists, its contents have not disclosed what it contains. According to NBC News, on Tuesday authorities released a list of items discovered at the home following the shooting. Among them were several journals, a shotgun, cellphones, laptops, and a suicide note. Old photos and yearbooks from The Covenant School, where Hale was a former student, were also recovered. The MNPD declined to provide further details regarding the contents of the note, a document which many have suggested could shine some light on the potential motive behind the mass shooting, which left six people dead. Officers did reveal, however, that many of the othe documents they found included notes about firearms courses and school shootings of the past. On Monday, police revealed that Hale planned the attack "over a period of months," and that she fired 152 rounds from the time she shot her way into the school until being killed by police. "The writings remain under careful review by the MNPD and the FBI's Behavioral Analysis Unit based in Quantico, Virginia. The motive for Hale’s actions has not been established and remains under investigation by the Homicide Unit in consultation with the FBI’s Behavioral Analysis Unit," MNPD wrote. Hale's manifesto has also been recovered, and its contents will reportedly be released to the public as soon as the FBI has analyzed it. https://www.theepochtimes.com/another-biden-administration-covid-19-vaccine-mandate-struck-down-by-court_5172256.html?utm_source=partner&utm_campaign=BonginoReport&src_src=partner&src_cmp=BonginoReport Another Biden Administration COVID-19 Vaccine Mandate Struck Down by Court President Joe Biden’s administration did not have the authority to impose a COVID-19 vaccine mandate on workers and volunteers in a federal childcare program, a U.S. judge has ruled. The Department of Health and Human Services (HHS) forced Head Start workers, and some volunteers, to get a COVID-19 vaccine starting in early 2022. Head Start provides childcare to children from low-income families. HHS cited the Head Start Act, which says the health secretary can add “administrative and financial management standards,” “standards relating to the condition and location of facilities (including indoor air quality assessment standards, where appropriate),” and “such other standards as the secretary finds to be appropriate.” Texas Attorney General Ken Paxton argued that the mandate was outside of the power granted by the act. The law “does not mention vaccinations,” he and other plaintiffs said in a brief. U.S. District Judge James Wesley Hendrix agreed. “The wisdom of Head Start’s rule is not before the Court—only its legality. If the people, through Congress, wish to impose a vaccine mandate on Head Start programs, they may do so by passing a law. But an agency can do only what Congress authorizes it to do,” Hendrix, a Trump appointee, said in his ruling. “Regardless of how well intentioned, HHS’s attempt here to shoehorn the vaccine mandate into statutory language authorizing modification of Head Start’s administrative, financial, and facility-management standards goes too far. Equally fatal to the rule is the agency’s decision to implement it without the necessary public notice and comment, consultation with stakeholders, and reasonable explanation,” he added. The ruling strikes down the mandate, which Biden’s administration had refused to rescind. The mandate had already been struck down in 24 states, per a 2022 ruling by a different judge. HHS and the U.S. Department of Justice did not respond to requests for comment. “I’m proud to announce that the Biden Administration’s attempt to use the Head Start program to mask toddlers and force the vaccine on staff and volunteers has now been permanently defeated,” Texas Attorney General Ken Paxton, a Republican and one of the plaintiffs, said in an emailed statement to The Epoch Times. In court filings, defendants had urged the judge not to block the mandate. The COVID-19 vaccines do not prevent transmission or infection, according to data from the U.S. Centers for Disease Control and Prevention, though observational data have indicated they have a small effect on both that might turn negative over time. The National Head Start Association, a nonprofit, welcomed the judge’s ruling. Head Start previously rescinded its mask mandate after months of lobbying from the nonprofit and others. It had mandated masks for children, workers, and volunteers. https://www.foxnews.com/politics/doj-reaches-ettlement-in-sutherland-springs-texas-shooting-civil-cases/ DOJ agrees to $144M settlement in Sutherland Springs shooting civil cases alleging background check negligence The Justice Department announced Wednesday it has reached a $144 million agreement in principle to settle civil cases stemming from a 2017 mass shooting at the First Baptist Church of Sutherland Springs, Texas, which left 26 dead. Officials said the settlements will resolve claims from more than 75 plaintiffs, who alleged "the Air Force was negligent when it failed to transmit to the National Instant Criminal Background Check System information about the shooter that would have prevented him from purchasing guns from a federally licensed firearms dealer." The gunman in the November 2017 attack, Devin Patrick Kelly, served in the Air Force. He died of an apparent self-inflicted gunshot wound. "No words or amount of money can diminish the immense tragedy of the mass shooting in Sutherland Springs," said Associate Attorney General Vanita Gupta. "Today’s announcement brings the litigation to a close, ending a painful chapter for the victims of this unthinkable crime." The Justice Department said Wednesday that a "federal district court in Texas concluded that the United States was liable for damages caused by the shooting." "The agreement in principle would settle all claims for a total of $144.5 million. The settlement agreement has been approved, subject to the plaintiffs’ securing the required court approvals," it added. "Under applicable law, a court must approve some aspects of the settlements." The Justice Department also said the "NICS plays a critical role in combatting gun violence, and the federal government is always striving to improve the functioning of that system." Kelley had served nearly five years in the Air Force before being discharged in 2014 for bad conduct, after he was convicted of assaulting a former wife and stepson, cracking the child’s skull. The Air Force has publicly acknowledged that the felony conviction for domestic violence, had it been put into the FBI database, could have prevented Kelley from buying guns from licensed firearms dealers, and also from possessing body armor. U.S. District Judge Xavier Rodriguez said in 2021 that had the government done its job and entered Kelley’s history into the database, "it is more likely than not that Kelley would have been deterred from carrying out the Church shooting." Kelley was shot at by two churchgoers who later pursued him. Officials said an autopsy determined Kelley was shot by Willeford twice. Now this!!! https://thenationalpulse.com/2023/04/03/city-council-considering-sale-of-biblical-roman-art-for-lack-of-diversity/ City Council Considering Sale of Biblical, Roman Art for ‘Lack of Diversity’ Acouncil in the English city of Oxford has announced that it will consider selling some of its Biblical art that decorates the town hall in an effort to “better reflect the gender and ethnic diversity of [the] city”. On Monday, March 20th, a Liberal Democratic councillor, Katherine Miles, submitted a motion to the council to have the artworks either removed or sold. The two paintings she demands be removed or sold are the Rape of the Sabine Women and Salome and Head of John the Baptist. The former depicts Roman mythology, whereas the latter is a biblical tale. Ms. Miles has been working on an initiative to increase the diversity and representation of the artwork in Oxford City Council since June 2021. She claims that the paintings depict “animal cruelty and gender-based violence”, as well as a lack of diversity. More specifically, she argues the artwork contains fox hunting, representations of death, and depictions of rape. In an interview with Oxford Mail, the newspaper that first reported the story, Ms. Miles reflected on the “lack of diversity,” stating, “[with] only three portraits in the town hall of women, it is high time the council redresses the existing lack of diversity within the town hall portraits to better reflect the gender and ethnic diversity of our city. Therefore, in her words, the collection has “no practical value to the city” nor a “clear link to Oxford”. Another Liberal Democrat councillor, Lawrence Fouweather, announced his support of the motion. He argues that the artwork could be sold to assist local residents in financial difficulties. “The Council,” he argues, “is running short of cash, and at the same time the cost of living crisis is thrusting many of our residents into tremendous hardship and poverty…this proposed one-off sale of select artworks from the city’s collection would help alleviate the dire plight of some of our most deprived residents”. Ms. Miles, on the other hand, has stated that “[s]elling any existing artwork not on display, and not becoming of a public institution, may be [sic] one way to fund the costs of any initiative to improve the decorations in the town hall”. One critic, Peter Whittle of the New Culture Forum in London, criticized the move, stating, “our culture continues to be dismantled by nobodies, morons and philistines”. No verdict has been made on the sale. A spokesman for Oxford City Council has publicly stated that, as for now, “there is no council position on this matter”. According to the Telegraph, “[d]iscussions about the diversity of public art in Oxford come after the city council created an “Anti-Racism Charter” in 2021, after pledging to tackle discrimination following Black Lives Matter protests the previous year.” https://www.foxnews.com/us/cash-app-founder-bob-lee-fatally-stabbed-san-francisco-report Cash App founder Bob Lee fatally stabbed in San Francisco Tech executive Bob Lee, founder of Cash App and the former chief technology officer of Square, was stabbed to death in San Francisco, California, according to reports. A 43-year-old man was attacked Tuesday at around 2:35 a.m., San Francisco Police said in a statement. Officers arrived at the scene on the 300 block of Main Street in response to the stabbing. The San Francisco medical examiner has not yet identified the victim, but Lee was later identified by his friends as the person stabbed, according to KPIX. Lee was rushed to the hospital to receive treatment for his life-threatening wounds, but he later succumbed to his injuries. No arrests have been made in connection with the stabbing as of Wednesday morning. The incident remains under investigation. Lee was the chief product officer of San Francisco-based cryptocurrency company MobileCoin. He previously worked at Google, where he led Android's core library team and launched "the world’s most used operating system," his profile on MobileCoin’s official website reads. The tech mogul also founded the social network Present, and invested in and advised other companies, including Figma, Clubhouse, Beeper and Faire. During the coronavirus pandemic, Lee helped the World Health Organization with their mobile app and led development for an at-home testing company.

This episode is also available as a blog post: http://arthistory101.art.blog/2023/02/11/the-influence-of-greek-and-roman-art-on-western-civilization/

On Paint Talks today, I chat with Lily Roman of Lily Roman Art. Lily grew up in the Bay Area, CA into a highly creative family. For her, music and art were one of the “languages” of her parents. Lily paints primarily with acrylic paint on canvas, or wood and enjoys creating compositions inspired often by the old masters and the 1960s. Her art will be on exhibit at Untitled Gallery in Tucson, AZ in September 2022. Join us for our chat!

Medusa's story, like many myths, contains sexual violence, murder, and great suffering. If you are not in a space to feel safe while we explore these topics, you may want to skip this one. Angela Natividad and I go deep into the story of Medusa, from her ancient origins to the Me, Too movement. Medusa's story is one of victim-blaming, betrayal, isolation, and hidden potential. She lives on whenever we are not believed, blamed, or invalidated when we speak truth to power. Violated by Poseidon, she was transformed into a monster by Athena. Forced into isolation, she bore the brunt of the powerful. When Perseus murdered her, she birthed two spirits: Pegasus, the free-flying winged horse and the much lesser known Chrysaor, a noble warrior-giant. Through her myth and art, we explore how the image of the woman with snakes in her hair has been viewed over time, and then contextualize what this means today. We link this back to our personal experiences and to social psychological theories to expand the meaning of Medusa. Perhaps there is no more important contemporary story than the way Chanel Miller was "medusaed" by some, both in the courtoom and in the public. We end by discussing ways we can reattach Medusa's head as individuals and in the broader sense. MeToo has amazing resources. Find them HERE. Connect with Chanel Miller. Books mentioned: Red Moon by Miranda Gray Maria Tatar's Heroine With 1001 Faces Cassandra Speaks by Elizabeth Lesser Medusa by Jessie Burton Known My Name by Chanel Miller Lost Goddesses of Ancient Greece by Charlene Spretnak Revisioning Medusa from Girl God Books Pindar's Pythian Odes Ovid's Metamorphoses Hesiod's Theogony Essays and Articles mentioned: NY Times: "The Medusa Statue That Become a Symbol of Feminist Rage." Medusa in Ancient Greek Art by Madeleine Glennon, Department of Greek and Roman Art, The Metropolitan Museum of Art A. L. Frothingham, Medusa, Apollo, and the Great Mother. American Journal of Archaeology , Jul. - Sep., 1911, Vol. 15, No. 3 Go deeper into Medusa's story, including viewing the art we discuss HERE.

What you'll learn in this episode: Why the beauty of ancient and antique jewelry may not be evident at first, and why that makes them all the more interesting to Marc How ancient jewelry has been passed through generations of collectors What streets to visit for the best jewelry shopping in Paris How Marc sources jewels from antiquity, and why provenance is of the utmost importance  Why Marc chose to list the prices of his pieces in his boutique window display About Marc Auclert The grandson of an antique dealer, Marc Auclert has had a passion for antique jewelry and objects of curiosity from a young age. Having spent over 20 years working for some of the most prestigious jewelry houses worldwide, including De Beers and Chanel, he opened Maison Auclert in 2011. The boutique specializes in mounting museum-worthy ancient jewels as pieces of contemporary jewelry.  The works of art selected to be mounted are sourced from a broad range of periods, cultures and geographical regions. Each object is chosen for its beauty and rarity; each elegant mounting is designed to showcase, and not overwhelm, the objects' preciousness, color, patina, shape or symbolism. Designed to celebrate and enhance the singularity of each Antique work of art, every piece in the Maison Auclert collection is unique, hand-made and embellished by the artisans of the best contemporary workshops in Paris. Additional Resources: Website Instagram Photos Available on TheJeweleryJourney.com Bague camée Julia et Saphirs Roman Cameo Ring  White and black two-layered onyx cameo representing the bust to the right of Julia Mamaea, mother of Emperor Severe Alexander, Roman Art  of the 3rd century AD,  mounted on an 18K red gold ring with a surrounding of sapphires (total 1.39 carat).    BO Impression 4 Intailles Impression Intaglio Earrings 18K gold long earrings, set with a Burmese ruby (1.05 carat), an emerald (0.56 carat), 6 diamonds (0.63 carat) and 4 “Grand Tour” intaglios (19th century) in  amethyst, chalcedony and carnelian, and their impressions in gold   Bague Profil Hélios Helios Ring Oxidized silver ring with a cut-out that reveals the effigy of the god Helios on a gold stater from Rhodes of the 5th century B.C.   Bracelet Cuff Agathe Miel Agate Cuff Large cuff bracelet in 18K brushed gold set with 5 rhomboid-shaped agate necklace beads, known as "Medicine Beads" for their prophylactic power, Indo-Tibetan art of the 1st Millennium B.C..    Collier Intaille Magique Magical Intaglio Necklace Pendant set with a lacunary hematite «  magical » or gnostic intaglio engraved with the right part of a gnostic lion-head deity, the sliced winged-head of the Gorgon in the left hand, two  scarabs, Greek letters (ΑΓΒΑ for the magical incantation Abraxas, ΙΑω for the jewish god Yahwe, etc.), Egyptian scarabs and stars in the field, Egypto-roman Art from the 1st-3rd century A.D., a modern extrapolation of the missing part hand-engraved in 18K gold, mounted on a black lacquered chain.      Transcript: Thanks to jewelry designer Marc Auclert, you can wear a piece of jewelry history around your neck. At his Paris boutique Maison Auclert, Marc transforms jewels from antiquity into contemporary pieces, all while preserving the soul of the original jewel. He joined the Jewelry Journey Podcast to talk about why ancient jewelry carries more emotion than contemporary pieces; how he finds jewels dating back to BC; and why the time it takes to appreciate antique jewelry is well worth it. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. Today, my guest is Marc Auclert, owner of Maison Auclert. After stints at some of the world's most prestigious auction and fashion houses and having lived all over the world, he now combines museum-quality antiquities with contemporary settings and fashions them into unique and wearable jewelry. Welcome back. So, people may be walking along, looking at everything glittering in all the windows, but they see your window and say, “Oh, this is really interesting” and come in? Does it stop them? How does that work? Marc: You can see that it puzzles them. They look at it, and you can see there's a big question mark, like, “What is that? It looks old, but it's not antique. Yes, there are antiques in the middle, but the mountings are definitely modern. The volumes are large.” You can see they have to use a few minutes to understand what's going on. I have to make sure the store is very well-lit and you can see inside very well. They see that there are lots of other things to discover. You need to be a bit courageous to press on the buzzer to be let in, but these people—I've seen many, many things. They press on the buzzer. They walk in and say, “What's going on here?” and very quickly, in two or three sentences, I explain to them that we take genuine antiques that we mount on modern mountings. These are one of a kind.  The other thing I've done which you'll probably find interesting, Sharon, is on the outside display, I've put the prices. Lots of friends have said to me, “Oh, I've talked about you to my friend. She knew exactly who you were, but she didn't go in your store because she said it was expensive.” I heard that several times. Because the pieces are original, people thought they were very expensive, whereas in fact, I'm not expensive in terms of money. Prices here go from $3,000 to $50,000 if you want it. It's lots of money, I understand, but compared to Place Vendome, these are not huge amounts. I even had a person who's quite important, I saw them at a dinner party and they said, “But Marc, you have nothing less than 50,000 euros,” and I said, “No, I actually have nothing above 50,000 euros.” That's when I understood that I need to make people understand what type of price position we're talking about; hence, I put the prices outside with explanations so people would understand. People have walked in much more since. Sharon: I know that's a big step. I can see what you mean when you say it takes courage to press the buzzer, because you think, “Oh my god, this is just too exclusive a place.” But if you know there's something that's possible within a budget, that you're not going break the bank, you go in. Marc: Exactly. Think of the youngsters. You're 35 years old. You've got a budget of $3,000 to $5,000, which is a lot of money. Pressing on the button of a high-end jeweler is super difficult. Pressing the button of any jeweler takes a bit of guts. By putting the prices out, they can see, “Oh, this cute little necklace is $2,800. Let me go and check it closer.” Once the person is inside, you make them feel very comfortable. That's part of the shopping experience. Then they understand that for their budget, there's some choice and they can get a wonderful gift. Sharon: Do people bring you their antiquities and say, “Can you do something with this?” Marc: I try to avoid that for several reasons. First of all, sometimes these antiques are fragile, and you only discover it when you mount them. When you mount them and break them, then it's a bore because you have to explain to someone that you broke their piece. When I break my own pieces, that's fine; that's my problem. That's another issue.  Also, it's because working on a custom order is very difficult. You have to come up with the designs, show the designs to the client, then they come up with reactions. It's a long, heavy process that sometimes can be very boring because clients have their own idea and you have your own ideas, and only mine are good, let's face it. When it's for inventory, I know exactly what I want to do with it, and that's it. It's my issue. When you're interacting with a client, it can be a very cumbersome process.  One of my best clients is American; she's a New Yorker. She buys from me, and she came into the store about a year ago and said, “Look, I've got these two things. Please mount them for me.” Obviously to that lady, I can't say no; that's for sure. We do work together and, as I know her well, it was rather easy. She was super happy with the result, but you take a risk because if the person doesn't know jewelry very well, if she doesn't know how to look at a drawing and understand it and read it, it is very difficult. You and I, if I show you a drawing of a piece of jewelry, you will understand what it will look like in reality, but lots of people don't read that well. When you submit the end result to them, they go, “Ah, really?” or, “Can you alter this and do this?” No, too late. It's done. So, it's dangerous. To answer your question, I try to avoid it, and I only do it with people I know well. Sharon: Custom orders to me are nightmares. Marc: Exactly. Sharon: I'm sure you make them happy in the end, but it's hard to read somebody's mind. Marc: Exactly, and people don't always say what they think because they're not always in tune with what they think. Instead of saying, “Oh my god, I've always dreamt of having the same ring as my grandmother, a ring that was lost.” O.K., that's easy. Show me a picture and we'll do something around that. Instead, they'll beat around the bush because they're not in tune with their inner thoughts. This is psychoanalysis. Sharon: For the most part, the things in your shop are things you've sourced yourself. Marc: Exactly. To end what we were saying about sourcing, I must add something very important. Now that I'm 10 years old, I've got my own network of suppliers. I've become friends with lots of them, which is wonderful. They continuously offer me things. They'll say, “I know you're into luster and vibrant colors and this, this and that. I thought of you for this Hellenistic intaglio. It's garnet. The polish is right. The subject is wonderful. Would you like that to mount as a ring?” Yes, because they understood what I'm looking for after 10 years. They make offers to me spontaneously, which is great. You can imagine this is wonderful. Sharon: What did you during Covid? How did that affect you? Marc: Nothing much. First of all, for many months, it was compulsory in France to be closed. The French government was extremely generous with businesses like mine being closed. We got some allowances that helped me pay for everything during those closed months, so thank you very much, government. On the other hand, nothing happened in terms of sales because I'm probably not good enough on the internet side of things. Those who did well are those who had e-commerce platforms or were very active on the internet side of things. I'm not. The question is, is my business the type that could have good sales on the internet?  I'm always surprised by the Instagram accounts and the reaction I get on them. I do make one or two sales a month thanks to Instagram. So, the fact that these are oldies but goodies doesn't mean they can't be sold on the internet. It's just me being a mature purveyor that's not in tune with the most modern things. So, that's definitely something I'm thinking of, and that's a result of the Covid period.  Sharon: You have a couple of sales a month through Instagram, and you also buy things you see. Marc: Yes, only from people I know well for the buying, but for the selling, definitely. It's mostly American clients. I even sold a piece that was $35,000 thanks to Instagram. It was a wonderful piece posted on Instagram. I got a nice word, “May I have some more information?” I said, “Yes, of course. Here's my email,” and we started exchanging and the lady purchased it. I was a bit surprised because you know I'm French; I'm traditional, but for her, it was certainly normal. When she received it, I said to myself, “I hope she enjoys it as a much as she thinks she will,” and she was thrilled with the piece. Sharon: I don't know what we all would have done without Instagram during Covid. I think a lot of jewelers had to scramble to get online and get up and running. Your Instagram is nice and you have some very nice pictures, and the fact that you sold them through Instagram is great.  Marc: It just proves to you that this is a new world and you'd better adapt to it. I'm giving a good thought to visibility, communication, e-commerce, all of these things. I may be a traditional jeweler, but it doesn't prevent me from being savvy and in tune with this time. Sharon: To me, that sounds like you do have an e-commerce platform. Are you saying you're thinking about doing more with your website? What do you mean? Marc: Yes, exactly. No, I'm not doing enough. I'm actually a bit lazy on that side of things, and there's much more to be done. I think if you want to be successful, you have to tackle these subjects, absolutely.  Sharon: It's a learning curve and it takes time. I've seen more and more on Instagram. I'm thinking of jewels, but I'm also thinking of shoes, where the website had nothing, but it was the Instagram account that gave all the information.  Marc: My communication agent, David, says to me, “Don't waste your time on your website. Who cares? Spend time on your Instagram. How much are you posting?” “Well, I don't know, once or twice every week.” “No, I think you should post twice a day.” I said, “Well, I don't have two posts a day.” He says, “Find them. You will.” What's interesting and what corroborates what you just said is that he says, “Don't waste your time on your website. Spend time on Instagram.” Interesting. Sharon: I am certainly not a techie, but it seems like websites have become secondary, almost. Marc: Exactly. That's what my communications agent would say. That's what he says, loud and clear. Sharon: You said that ancient and antique jewelry has a soul. What does that mean to you? Marc: It's very difficult to explain. You either feel it or don't feel it. If you don't feel it, you're not a client of mine, obviously. I'm not superstitious. I don't believe in ghosts, and I don't believe in the power of crystals or whatever. I'm really down to earth. My great grandparents were peasants, and that's what I am deep down. But I do feel that when jewelry has been worn thousands of years ago, appreciated, changed hands to hands, has seen good moments, bad moments, tragic moments, wonderful moments, it seems that they get impregnated with something that's beyond the intrinsic material. It can be a building; it can be a picture; it can be a piece of jewelry. There is something about antiques that holds stories. Once again, I'm not superstitious, but there is something. When you hold an intaglio that's 1st century A.D. and you know it's been worn by a Roman lady or a Greek or Egypto-Greek gentleman, there is something different than if the intaglio were cut 20 years ago. That's for sure. How, I can't explain it further than that. It's a vivid impression. Sharon: It's seen a lot. It's definitely seen a lot. Marc: It went from hands to hands to hands to arrive to today, where it arrives in my hands, and then I will do something to put it in another one's hands. It's like a long chain, which I think is very beautiful and very assuring in terms of constancy. It's very mathematical. Sharon: Have you looked at antique pieces or antiquities where somebody said, “This is from this century,” but you've looked at it and it seemed dead to you, like you felt there was no life? Marc: In my place, it's more aesthetic. For instance, today I was shown a very important intaglio that depicts a house. It was Hellenistic, 3rd or 2nd century B.C. Usually intaglios of that period depict gods and goddesses, princes, etc. Very rarely do they depict architecture, so these are super rare, very valuable, museum quality, museum worthy. But when I held it in my hand, I was like, “It says nothing to me. It's just a house on an intaglio.” I guess it was more the aesthetics that did not speak to me.  Sharon: I may be naïve in asking this, but the people who bring you these things, where do they find things from the 1st and 3rd centuries? They're not lying around on the ground.  Marc: They're not lying on the ground anymore, but don't forget that since the Renaissance, the 16th, 17th century, definitely 18th century and 19th century, there's been lots of digging in Italy and Europe. These pieces have been collected since the Renaissance, so you find them in jewelry cabinets. They could be coins; they could be intaglios or cameos; they could be naturalia. They could be all of these things you find.  There is the notion, “wunderkammern,” which is this German word saying that anyone who had a culture in the Renaissance would have had their cabinets full of wonders, wonderful, natural or man-made wonders. If you were anyone of rank, you had to show that you had culture and taste, and you would be a collector. So, these little babies have been collected since the Renaissance, and that's where we find them today, in big collections. These collections can hit the market, and they have done so since the 19th century. If you take the Marlborough gem collection, for instance, it was sold at auction at the end of the 19th century. That's how it works. That's the mechanic of the collection: it is assumed, dissembled at auction, reassembled by certain people, etc.  Sharon: I envision that you have a box somewhere in your shop where you collect things you may not have time to do something with right now, but you said, “Oh, this is really interesting. I'm going to hold onto this.” Marc: Correct, I have two things in the store. I have things that I've bought that I haven't mounted yet. I know exactly what I want to do with them, but I haven't mounted them yet because I don't want too many pieces in the collection. I have 80 pieces. That's enough; I don't need 120.  Secondly, I have my own private collection. Sometimes I see a piece and say, “I have to buy this and keep it. I've never seen that before. It's wonderful.” It's my own private collection. I own lots of jewelry myself and I never wear any jewelry. I've got probably 12 super rings with glyptic on them. You will never see me wearing a ring because it doesn't suit me, but I have the rings. Sharon: Do you wear some of the ancient stuff you've made? Marc: No. Sharon: Nothing? Marc: No. I love jewelry, but not on me. It doesn't work on me. I don't have the right hands. I don't have the physique, and I'm of this generation where men don't wear jewelry. You just wear a band and that's it. When I see those youngsters and they're carrying jewelry very, very well, they're having fun because it's a wonderful world. In my case, I'm too traditional; I already told you. I can live with that.  Sharon: It sounds like the jewelry you have is beautiful. Marc, thank you so much for talking with us today.  Marc: No, thank you for inviting me. That was super sweet. When are you coming to Paris? Sharon: In the next six months, I hope to get there. It's been a while, but who's gone anywhere, at least from over here? But I will stop in and say hello. Thank you so much. Marc: No, you don't stop and say hello. You come. You make an appointment and I'll invite you for drinks. Sharon: Well, I'm going to end the recording and we can talk about where we're going to go. Hold on one second. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

What you'll learn in this episode: Why the beauty of ancient and antique jewelry may not be evident at first, and why that makes them all the more interesting to Marc How ancient jewelry has been passed through generations of collectors What streets to visit for the best jewelry shopping in Paris How Marc sources jewels from antiquity, and why provenance is of the utmost importance  Why Marc chose to list the prices of his pieces in his boutique window display About Marc Auclert The grandson of an antique dealer, Marc Auclert has had a passion for antique jewelry and objects of curiosity from a young age. Having spent over 20 years working for some of the most prestigious jewelry houses worldwide, including De Beers and Chanel, he opened Maison Auclert in 2011. The boutique specializes in mounting museum-worthy ancient jewels as pieces of contemporary jewelry.  The works of art selected to be mounted are sourced from a broad range of periods, cultures and geographical regions. Each object is chosen for its beauty and rarity; each elegant mounting is designed to showcase, and not overwhelm, the objects' preciousness, color, patina, shape or symbolism. Designed to celebrate and enhance the singularity of each Antique work of art, every piece in the Maison Auclert collection is unique, hand-made and embellished by the artisans of the best contemporary workshops in Paris. Additional Resources: Website Instagram Photos Available on TheJeweleryJourney.com Bague camée Julia et Saphirs Roman Cameo Ring  White and black two-layered onyx cameo representing the bust to the right of Julia Mamaea, mother of Emperor Severe Alexander, Roman Art  of the 3rd century AD,  mounted on an 18K red gold ring with a surrounding of sapphires (total 1.39 carat).    BO Impression 4 Intailles Impression Intaglio Earrings 18K gold long earrings, set with a Burmese ruby (1.05 carat), an emerald (0.56 carat), 6 diamonds (0.63 carat) and 4 “Grand Tour” intaglios (19th century) in  amethyst, chalcedony and carnelian, and their impressions in gold   Bague Profil Hélios Helios Ring Oxidized silver ring with a cut-out that reveals the effigy of the god Helios on a gold stater from Rhodes of the 5th century B.C.   Bracelet Cuff Agathe Miel Agate Cuff Large cuff bracelet in 18K brushed gold set with 5 rhomboid-shaped agate necklace beads, known as "Medicine Beads" for their prophylactic power, Indo-Tibetan art of the 1st Millennium B.C..    Collier Intaille Magique Magical Intaglio Necklace Pendant set with a lacunary hematite «  magical » or gnostic intaglio engraved with the right part of a gnostic lion-head deity, the sliced winged-head of the Gorgon in the left hand, two  scarabs, Greek letters (ΑΓΒΑ for the magical incantation Abraxas, ΙΑω for the jewish god Yahwe, etc.), Egyptian scarabs and stars in the field, Egypto-roman Art from the 1st-3rd century A.D., a modern extrapolation of the missing part hand-engraved in 18K gold, mounted on a black lacquered chain.      Transcript: Thanks to jewelry designer Marc Auclert, you can wear a piece of jewelry history around your neck. At his Paris boutique Maison Auclert, Marc transforms jewels from antiquity into contemporary pieces, all while preserving the soul of the original jewel. He joined the Jewelry Journey Podcast to talk about why ancient jewelry carries more emotion than contemporary pieces; how he finds jewels dating back to BC; and why the time it takes to appreciate antique jewelry is well worth it. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. Here at the Jewelry Journey, we're about all things jewelry. With that in mind, I wanted to let you know about an upcoming jewelry conference, which is “Beyond Boundaries: Jewelry of the Americas.” It's sponsored by the Association for the Study of Jewelry and Related Arts, or, as it's otherwise known, ASJRA. The conference takes place virtually on Saturday and Sunday May 21 and May 22, which is around the corner. For details on the program and the speakers, go to www.jewelryconference.com. Non-members are welcome. I have to say that I attended this conference in person for several years, and it's one of my favorite conferences. It's a real treat to be able to sit in your pajamas or in comfies in your living room and listen to some extraordinary speakers. So, check it out. Register at www.jewelryconference.com. See you there. This is a two-part Jewelry Journey Podcast. Please make sure you subscribe so you can hear part two as soon as it comes out later this week. Today, my guest is Marc Auclert of Maison Auclert. After stints at some of the world's most prestigious auction and fashion houses and having lived all over the world, he now combines museum-quality antiquities with contemporary settings and fashions them into unique and wearable jewelry. We talked with Marc pre-Covid and are pleased to be visiting with him again. We'll hear all about his jewelry journey today. Marc, welcome to the program. Marc: Sharon, thank you for inviting me again. Sharon: So glad to have you. Tell us about your jewelry journey. It seems you've been everywhere. Marc: Well, not really. Recently we've been a bit stuck at home. Sharon: That's true. Marc: But beyond that, business has started back and that's really nice. Clients are back in Paris. Parisians are starting to spend again. It's been nice since Christmas. We've had a very good time. The journey is continuing. This company, which I founded in 2011, is 10 years old, so it's pretty old. This is a landmark. Sharon: Congratulations. That is a big deal. Marc: Thank you. I've worked for many grand houses for whom 10 years would be nothing, but when it's your own company, 10 years is a sweet number, I must admit. I'm very happy. It's doing well in the sense that it's making momentum. It's becoming more and more known, and this is extremely important. Today's awareness is tomorrow's success. Sharon: That's true. Marc: My first goal when I opened the company was not to make sales, though it is very important that the company has the cashflow in order to survive, but my first real goal was to build awareness, because I knew from my business experience that today's awareness is tomorrow's sales. Sharon: Well, you got a lot of press early on. Marc: Yes, I've been very lucky. First of all, don't forget I've been in the business for many, many years, so I know many actors, including the press people. So, when I opened my business, I was able to very easily reach out to lots of key people in the communications industry. This, of course, was a great help, and then it was a snowball.  You start getting some press releases, and other people take interest. You get French press, then the English will look at it, then the Americans will look at it, etc. So, that's been very, very good.   Sharon: That's quite a lot of presence. How did you get into jewelry? Did you always like it? Marc: I guess so. I have no clear memories of saying to myself, “I want to do this.” The only thing I remember is when I was a child, I was fascinated by the crystal world. I moved from collecting rough crystals to liking cut gemstones. After my general studies I thought, “Oh, that could be interesting, to do a course in that field.” That's how I went to the GIA in New York, but it was more like a hobby than anything. It was a crisis at the time when I was getting my first job. It wasn't very easy to get a first employment, and one of the possibilities was to join the industry. As I had general studies under my sleeve plus a GIA diploma, that was my first job I got. That's how I got interested in jewelry, from crystals to faceted stones to jewelry. Today, to continue the journey, as you call it, I'm more interested in antique jewelry, antique gold, intaglios, cameos and things like that, which is continuing on that path.   Sharon: Why is it that jewelry from antiquity fascinates you?   Marc: I think it's because I understand modern jewelry very well and it doesn't fascinate me. Only very few people and very few pieces fascinate me. It's not because they're not good; they are wonderful. But the proposition we're getting, it's an easy proposition, whereas if you look at antique jewelry, antique stones, antique jewels, be them historical or in museums or whatever, I think they're more difficult to understand because they're less pleasing to the eye, but technically and in terms of art history, they're much more interesting. That difficulty makes them so much more attractive to me, and that's why I'm selling them to my clients, basically.  Sharon: And they sell to you, I presume, when they bring in something and tell you about it. Marc: Absolutely. Your question is very important because when you look at a 15th century B.C. intaglio, it's tiny; it's not even an inch long. If you don't actually sit down and have a proper look at it and detail it, which requires a few minutes, then you don't get it. This is really in opposition to what we see today in jewelry companies' displays. It's, bang, in your face. It's gorgeous. It's luminous. It's full of diamonds and stones and it's evident. Those antique intaglios are not evident. That's what I like. Sharon: When did you first start encountering antique jewels? At the auction houses? At the fashion houses?  Marc: When you're interested in jewelry like you or me, we've been in museums. That's when you get that first encounter and you compute those first pieces you get to see, so there isn't a step where you actually shift to that. Actually, you get to see them on a regular basis. You don't stop, really, but they're growing on you. At a certain age—because I do think it's a question of acquired taste, hence a question of age—they come back to you. You know these are interesting pieces you need to go back to and understand. So, to answer your question, I've been looking at them for a long time, but I've been starting to understand them not so long ago. Does that make sense?   Sharon: Yes, I think I understand. I think you're looking at a 15th century piece and the person on it is talking to you, in a sense.   Marc: Exactly. It says so much about the history of art, about humanity, about who did it, how he did it, what tools were used and in what environment. Think no electricity, no motor, everything was handmade in a dark workshop in the pits of a town like Rome or Alexandria. Then you start to understand who wore it, why they wore it, on what they wore it, on what occasion, and you're really entering history. That's fascinating. Sharon: You were with some prestigious auction houses—was it Sotheby's?—and you started the high jewelry at Chanel. How did you segue to this? Marc: For me, it's a journey. It's a jewelry journey. You start with easy pieces, diamonds for instance. Diamonds are easy. You look at a 10-carat, D, flawless, XXX emerald cut, type 2A with a comb, that's easy. Everybody loves it. You don't need to be especially knowledgeable to get it. As you are working with those items, in parallel you know that there are other things that are gorgeous and much more difficult to understand. As you grow older, that's where your interest goes towards.  You start with the beginning. You start with the diamonds and the gemstones. You start with the gorgeous jewelry, and then you move slowly to Art Deco pieces, then to 19th century, then you go to the 18th century. Then you go to more difficult, the Renaissance, Medieval. Then you go to Byzantine jewelry, and then you enter the whole world of antiquity: Roman, Hellenistic, Greek, Mesopotamian, Egyptian. The further you go up the stream, the more difficult it is, because it's not as appealing to the eye as your 10-carat cut diamond. Sharon: I don't stumble across the 10-carat so much, but I can understand what you're saying. Marc: Well, you see them in the windows.  Sharon: Tell us about Maison Auclert. Tell us about the business and what you do. What do you describe at a dinner party if somebody asks? Marc: It's exactly how you explained it in the introduction. My job is to find antiques. They can be Mesopotamian; they can be 19th century German or French. The definition of antiques is very broad. There is no geographic location. It can be South American Pre-Columbian; it can be French; it can be Asian, depending on what I find and what my taste goes for.  When I see those antiques, I have to think about how I'm going to introduce them onto a piece of jewelry. Often antique dealers show me beautiful pieces and say, “Look at this. It's gorgeous. You could make a lovely piece of jewelry out of that.” No, to make a piece of jewelry, you also need some requirements, which is that it has to be jewelry pretty. It's not because it's antique that it will be jewelry pretty. It has to be durable. It has to have the right color, the right sheen, the right durability. That's also an important factor. If it's too brittle and too fragile, you're not going to mount it on a piece of jewelry, especially on a ring. In addition to the antique purchasing, which is what all antique dealers do, I also introduce the notion of the jewelry mounting aspect of it.  So, my first job is buying antiques. My second job is then to design around them. That's another interesting factor in what I do, in the sense that you have designers that take hours, that think about things for hours and ponder and come back to the drawing. In my case, it's a very instinctual type of creation. When I look at an antique piece, very rapidly I know what I'm going to do with it. If I don't know what I'm going to do with it, I still buy it. Then it'll be in my box for many, many months before I have an idea. Basically, if I don't have the idea straightaway, I forget.  It's kind of like, “Take me, because you're going to do this.” It's simultaneous. It's rather interesting, the way it works in my little head. I know other designers that work for hours and hours and come up with wonderful designs. In my case, maybe I'm very lazy, but the design comes straightaway, and that's that.  Then, of course, I finalize it. I speak with the workshop and say, “This is what I have in mind. Here's a quick sketch. How are you going to make it happen?” There's the whole technical part of it that is discussed with the workshop. That's why you have to work with wonderful workshops in the sense that they have to bring that notion of technicality, which is important. That's how the piece of jewelry gets constructed on paper. Then they will take it onboard—when I say “they,” it's the workshop. I only use Parisian workshops—and they will start building the piece with a wax model and then cast it in gold. I will go the workshops once a week to follow the building of the piece. Why is that important? Because in the case of my jewelry it's only one-of-a-kind pieces, so each piece is actually a prototype. So, I have to be there on a regular basis. That's the reason why I can't outsource in Italy or Asia or whatever. It has to be made around the corner. I am Parisian. It has to be made in Paris.    Sharon: It's not because the workshops are better. It's just that they're close to you.   Marc: Or better. Parisian work is really, really good.   Sharon: Are they?   Marc: Yes, definitely. A company like Tiffany, they produce their high-end jewelry in Paris. I think that says a lot. You have lovely, wonderful jewelers in Italy and Lebanon. We've met them over the years, but I must admit in Paris, we still have a knowhow that is extremely important. How long will they last? I don't know, but right now, it's still very much cared for.   Sharon: How do you find these antiquities? Where do you find them?   Marc: All over the world. I browse a lot on the internet. I check all the sales at auction houses, big auction houses, small auction houses, tiny, local, regional auction houses. I have two workers who help me look for what I'm looking for: antique dealers, of course, collectors, private people. But I have to be very careful because, as you know, there are different problems involved with antiquities, regional problems like in the Middle East. There have been lots of naughty diggings being done in certain regions, and hence you get some illegal pieces arriving on the market. That for me is a no-no, first of all because ethically it doesn't suit me at all, and secondly, I'm a young company, so I can't afford to be in a pickle. That for me is very, very important. It's key. The whole issue of provenance, which has to be pristine, is very important. So, I only buy from very, very reliable auction houses, antique dealers, collectors, private people only if I know them very, very well. If someone came off of the street and said, “Hi, look, I've got these wonderful intaglios. Are you interested?” my answer would have to be, “Sorry, no,” just because of those subjects.   Sharon: For some reason, I envision that most of your clientele is male. Is it both?   Marc: It's absolutely both. It's the same as in the classical jewelry industry. 50 percent of my clientele is female; 50 percent is male. I see exactly the same pattern as the Place Vendome. She will walk in; she will buy for herself, or she will be scouting and then she will be back with someone else to pay for the piece of jewelry because it's a gift. It's exactly the same pattern, with more and more women buying the jewelry for themselves. I often get ladies that already have the engagement ring, the tennis bracelet—yes, antique isn't everything—and they're in for an intaglio, for instance. They don't own a Roman intaglio and that's what they would like, and that's something they will come and do on their own, definitely, especially as the prices are softer than with precious stone jewelry.   Sharon: Do people stumble on your store? You have a nice storefront. I haven't been there for a few years now.   Marc: It hasn't changed. It's still there, still the same. Now, to answer the question, there are two things. It's the network. The network is very, very important in any business, especially if it's a retail business. When I started that business, I already had a client book, and that proved to be extremely important. I also have business partners who have very, very good contacts, so that's great. That definitely was, how do you say, a jumpstart? That was a very good jumpstart in the beginning.   The second very important thing, as you mentioned, is obviously the location. I have a small boutique, but it's very well located. In Paris right now, the good retail is concentrating around Place Vendome, Rue St. Honoré, Rue de Castiglione. This area, which always has been good, is now becoming excellent. Avenue Montaigne is going down. St. Germain is going down, to the benefit of the area where I happen to be very lucky to have a boutique.    Sharon: You are in a fabulous location. Are people walking along the street?   Marc: I'm in the middle. All the big the palaces and hotels are around us: the Ritz, the Meurice, the Bristol, Mandarin Oriental. Most of the big hotels are around this area. Of course, you can imagine the type of clientele that walks in front of the window, and that's wonderful for a small company like mine. 

Liv reads the first section of Ovid's Ars Amatoria, translated by Henry T. Riley. Even more ridiculous ancient Pick Up Artistry is coming on Friday... This is a Valentine's Day taste of what's to come... CW/TW: Ancient Pick Up Artist style issues... Lots of them.Attributions and licensing information for music used in the podcast can be found here: mythsbaby.com/sources-attributions. See acast.com/privacy for privacy and opt-out information.

Editor's Note: This is a rebroadcast. It originally aired July 2020.War is a violent and bloody business, but it's rarely a no-holds barred free-for-all. Instead, codes of conduct that determine what is and isn't honorable behavior on the battlefield have existed since ancient times.My guest today explored these various codes in a book she wrote during the decade she spent teaching at the United States Naval Academy. Her name is Shannon French, she's a professor of ethics and philosophy, and her book is The Code of the Warrior: Exploring Warrior Values Past and Present. Shannon and I begin our conversation with the pointed questions she used to pose to the cadets she taught as to how being a warrior was different than being a killer or murderer, and when killing is and isn't ethical. She then explains how the warrior codes which developed all around the world arose organically from warriors themselves for their own protection, and how these codes are more about identity than rules. Shannon and I then take a tour of warrior codes across time and culture, starting with the code in Homer's Iliad, and then moving into the strengths and weaknesses of the Stoic philosophy which undergirded the code of the Romans. From there we unpack the code of the medieval knights of Arthurian legend, what American Indians can teach soldiers about the need to make clear transitions between the homefront and the warfront, and how the Bushido code of the samurais sought to balance the influence of four different religions. We end our conversation with the role warrior codes play today in an age of increasingly technologized combat. If reading this in an email, click the title of the post to listen to the show.Resources Related to the PodcastWhy You Need a Philosophical Survival KitThe Warrior's ManifestoThe Way of the Monastic WarriorThe Way of the Stoic WarriorThe Warrior EthosThe Warrior ArchetypeAoM series of Sioux guidesAristotle's Wisdom on Living the Good LifeHector and Achilles: Two Paths to ManlinessWhat Homer's Odyssey Can Teach Us TodayHow Soldiers Die in BattleWhat Plato's Republic Has to Say About Being a ManHow to Think Like a Roman EmperorThe Fall of the Roman RepublicLessons From the Roman Art of WarThoughts of a Philosophical Fighter PilotLe Morte DarthurAchilles in VietnamThe Bushido CodeEverything You Know About Ninjas is WrongConnect With Shannon Shannon on Twitter 

How about that Doge coin? Is the "rotten meat challenge" really a thing? Kim Kardashian has been tied to smuggling Ancient Roman art. Movie theaters no longer have to disinfect in between showings.  See omnystudio.com/listener for privacy information.

How about that Doge coin? Is the "rotten meat challenge" really a thing? Kim Kardashian has been tied to smuggling Ancient Roman art. Movie theaters no longer have to disinfect in between showings.  See omnystudio.com/listener for privacy information.

In this episode, Zofia is joined by archaeologist and 3D-reconstruction specialist, Dr Lucia Michielin, to shine a light on her research into how the building practices of Romans considered lighting and its implications on home design. We discuss changes to Roman technology and how increased accessibility to glass in the Imperial period was reflected in Roman homes, and how she navigated using semi-fantastical artistic evidence and scientific analysis to explore domestic lighting in the Roman world. Tangents include: Disney castles, video games, living the ‘Roman Dream’ and gated communities, and public engagement. Find us on InstagramSupport us through Patreon Buy our merch on RedbubbleExplore more resources and topics about the ancient world on ArchaeoArtistMusic by the wonderfully talented Chris SharplesIf you'd like to get in touch, email at twofriendstalkhistory@gmail.com. 

Welcome to the 4th episode of The Itty Bitty Art Committee! This is an Art History-related podcast made by CHS and CMS Art students and an insane Art teacher. In each episode, students explore three pieces of famous art from eras in Art History. In this episode, we look at the Ancient Rome era of Art History. This includes: STORY 1 : Trajan's Column STORY 2 : The Pantheon STORY 3 : The Arch of Titus Story hosts this episode : STORY 1 : Logan Buford, Ethan Campbell, and Ethan brown STORY 2 : Elise Fraise and Denisse Herrera STORY 3 : Samantha palmer and Samantha heil Lead Host : Roman RoMante Mante Mante Lead Directors : Logan Buford , Ethan Campbell , and Ethan Brown Mixer and Producer : Brandon Beichler Theme songwriter and performer this episode : Leah Turner Sponsors : HUGE THANK YOU TO : Chisholm Public School Foundation , Enid Arts Council , Lowe's (Enid, OK) , OG&E, Park Avenue Thrift , and the Burchel Family. Credits ( facts from research ) : www.khanacademy.com , www.italyguides.com , www.britannica.com , www.arthistoryproject.com , www.sacredsites.com , www.mentalfloss.com , and www.smarthistory.org.

Welcome to The Rise of The Roman Empire podcast series by Cambridge For Kids. This seventh episode looks at Roman Art. The Romans greatly appreciated the ancient Greeks, especially their art. Instead of inventing new forms of art the Romans simply copied Greek styles and called it Roman. But where they truly flourished was in its revolutionary architecture, portraits and carved relief sculptures. Written and Narrated by Cambridge University Archaeologist: Matthew John Brooks cambridgeforkids.podbean.com

Material Culture: The Power of the Image? In this Lincoln Leads session we consider the power of the image. Our panel, composed of Dr Joshua Thomas (Lavery-Shuffrey Early Career Fellow in Roman Art and Archaeology), Sarah Bochicchio (2016, MSt in British and European History) and Robert Kerr (1971, Former Executive at Burberry), transverse the humanities as they discuss everything from archaeology and fashion, to history, diplomacy and advertising.

In this special guest episode, I am joined by Dr. Phoebe Segal, Mary Bryce Comstock Curator, Greek and Roman Art, at Museum of Fine Arts (Boston, MA). She gave me a one-on-one tour of their new “Daily Life in Ancient Greece” exhibit (in Gallery 212A-B) and allowed me to record our conversation while doing it.   Show Notes: http://www.thehistoryofancientgreece.com/2019/03/special-guest-episode-at-mfa-boston.html  

We speak with Sean Hemingway, grandson of Ernest Hemingway, about The Short Stories of Ernest Hemingway: The Hemingway Library Edition, which also features a personal foreword from Hemingway’s sole surviving son Patrick. Sean Hemingway has a Ph.D. from Bryn Mawr College and is a curator in the Department of Greek and Roman Art at the Metropolitan Museum of Art in New York. We also talk with Rick Polad about his new novel Cold Justice, a Spencer Manning mystery. He is the author of four previous novels in the series: Change of Address, Dark Alleys, Harbor Nights and Missing Boy. In addition to being an author, he is an environmental geologist, an earth science instructor, a Coast Guard volunteer, a jazz trumpeter and an editor.

Fordham Conversations Host Robin Shannon visits The Fordham Museum of Greek, Etruscan and Roman Art.  There she discusses the largest gift of art in the university's history with Fordham’s Curator of University Art, Jennifer Udell. 

Paul Roberts gives a TORCH bite-size talk at the Ashmolean Museum's DEADFriday event

Kareena and K Mistry are off to Italy to look at the art of the Ancient Romans and the chemistry used to make it!

CLAROS is an international federation of European universities, museums and archives led by Oxford. 2,000,000 records and images of Greek and Roman art held at six sites in four European countries are linked virtually, using semantic web tools.

Greek and Roman Art

Fri, 1 Jan 1988 12:00:00 +0100 http://epub.ub.uni-muenchen.de/5427/ http://epub.ub.uni-muenchen.de/5427/1/5427.pdf Schneider, Michael Schneider, Michael (1988): Rezension von: Niels Hannestad, Roman Art and Imperial Policy, Aarthus 1986. In: Gnomon : kritische Zeitschrift für die gesamte klassische Altertumswissenschaft, Vol. 60: pp. 438-444. Geschichts- und Kunstwissenscha