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Sara Mameni has Josh Hite's permission to use his Fremont Lenin statue photograph for her paper to be published in Acta Historiae Artium, and for any future academic endeavours. Josh Hite Notes
In Deipnosophists 15, Athenaeus relates a discussion some guests at the banquet held – the background against which the entire work is set – on the uses of ritual crowns. The banqueters tell two noteworthy stories on how divine statues can hinder
The round statue of enthroned Tyche was originally displayed in the middle of the front row of seats in the west theatre of Umm Qais. The statue of high quality is made of ivory coloured marble, while the theatre is constructed of black basalt stone. This contrast of colour and material made the statue stand out and intensified the beauty of the theatre. The statue has been moved by the Department of Antiquities of Jordan and displayed at Umm Qais Archaeological Museum, registered as number 13c. The Gadara Tyche appeared with one of the main symbols of the goddess, the cornucopia.
Highly realistic and geometric models of cultural heritage objects are attractive tools for documentation, preservation and promotion purposes. 3D imaging, using dense stereo matching techniques, is used for accurate and realistic modeling of the Tyche statue and the theatre of Umm Qais. Acquiring 3D surfaces with image matching solutions has many advantages related to the flexibility, cost effectiveness of, and need for short data collection time on the site without disturbance to the site’s visitors.
Abstract
A quantitative analysis of an ancient Buddha statue was performed by external beam Proton Induced X-ray Emission for the purpose of identifying its originality. It is shown how the PIXE method can be applied for archeological study. The elemental composition of the statue is compared with that of several samples with definite ages. The experiment was performed by extracting 2.4 MeV proton beam through a 2 mm diameter collimator and 7.6 
m kapton foil to the He atmosphere. X-rays were measured by a Si(Li) detector. The analysed elements were Fe, Cu, Ag, Au and Hg for gold coating and Fe, Ni, Cu, Zn, As, Ag, Sn, Au, Pb and Bi for bronze body.
Summary
In 2014 the discovery of a Mithras' statue at Tarquinia occurred. This was due to the Comando Tutela Patrimonio Culturale dell'Arma dei Carabinieri, which informed the Soprintendenza per i Beni Archeologici dell'Etruria Meridionale about clandestine activities in May 2014 on the poggio della Civita – where the ancient city of Tarquinia stood – in a zone close to the Etruscan temple of the Ara della Regina (fig. 1).
As soon as possible, the Soprintendenza carried out an archaeological excavation, focusing the effort on the need to find evidence for the place of origin of the magnificent sculptural group (fig. 2), which represents Mithras Tauroctonus. This sculpture was recovered by the Carabinieri after investigation by the police, directed by the Procura della Repubblica of the law court of Rome.
Archaeological research since then has led to the discovery of another marble part of the same sculpture (fig. 3), i.e., the dog leaning on the knee of the bull and perfectly dovetailing with the Mithraic Tauroctony. The discovery of another fragment pertaining to the same sculpture is an irrefutable proof that the Mithras' statue came from the domus of the Civita of Tarquinia, which represents an important and new scientific result.
The only other sculptural group depicting Mithras in Southern Etruria was one previously found in Vulci, discovered in 1975 after a clandestine excavation close to the domus del Criptoportico. This new finding proves the spread of this cult in Tarquinia, as well, and the style of the new sculpture suggests a chronological priority of the Tarquinian Mithraeum in respect to that in Vulci.
Crosses, “images” in Outer Somogy . The article presents 215 sacral minor monuments and small structures found in public places in the northern part of Somogy County, classified by type. Most of the wayside crosses are made of stone. The research investigated the time they were erected, their place, motivation, inscriptions and destruction. The Holy Trinity statues were made from the end of the 18th century, those of Saint Wendelin from the early 19th century. Their geographical distribution corresponds to the denominational relations in the small region. Statues of Saint John of Nepomuk date from the end of the 19th century. The research also covers the fate of the bells used in the outlying settlements (known as puszta ) on the former large estates, and their highly varied belfries. Other sacral minor monuments are not found in the area studied, or only in very small numbers. The article presents in detail an unusual minor monument ( fakép = ‘wooden image’). The plant ornamentations of the sacral minor monuments appear to be “more conservative” than the small private gardens.
Summary
The fragmentary statue of St Catherine belonging to the International Gothic on the early 15th century, discovered in the ruins of Eger Cathedral is published and dated on the basis of its stylistic features and its dress.
Trivikrama: word and statue
A new interpretation of Rāmagiri evidence (1)
The Vākāṭaka stone inscription found in the Kevala Narasiṃha Temple (5th century AD) on top of the Rāmagiri (Ramtek) has been published several times. In the present article the author takes a fresh look at the first dedicatory stanza of this inscription. He suggests several conjectural readings for the illegible parts of this verse. Parallels of some of the conjectured readings are found in the Śatapathabrāhmaṇa . If these conjectures are correct, it appears that the inscription and the pious deeds recorded in it are dedicated to Viṣṇu Trivikrama. It is argued that the nearby ruin of a Trivikrama Temple is the original home of this inscription. When the Kevala Narasiṃha Temple was restored in the Bhonsle period, the inscription stone, or what remained of it, may have been brought from the ruins of the Trivikrama Temple to the Narasiṃha Temple.
The sacred space of a place of pilgrimage and its objects: Mariaradna . From the turn of the 17th to the 18th century Máriaradna was a place of pilgrimage for the Catholic inhabitants (Hungarians, Germans, Bulgarians and others) in a vast region of South-east Hungary. Since the First World War the area of its attraction has belonged to the territory of three countries, Hungary, Romania and Serbia. In the second half of the 19th century and before the First World War the people of settlements visiting the place of pilgrimage erected chapels, columns with sacred images, stations of the cross and statues on the hillside behind the church using concrete, a modern building material at that time. The article examines these structures. They clearly reflect the strong Franciscan influence (Saint Francis, Saint Anthony, Saint Elizabeth of Hungary), as well as the devotional trends of the previous century (Sacred Heart, Heart of Mary, Virgin Mother of Lourdes) in the religious practice of the region.
Emancipation and social engagement facilitated the Central European Jewry’s identification with the modern notion of national identity. During the Great War this often came into conflict with Jewish universalism. Those of Jewish denomination supporting the various national identity notions identified with the war aims and propaganda of the given nation while they tried to find the antetype of the new circumstances in the Jewish past and Judaism.
