Cleopatra—a courageous, astute, and captivating lady who spoke many languages, entertained lavishly, hunted, went into conflict, eradicated siblings to consolidate her strength, and held off the specter of Imperial Rome to guard her nation so long as she could—continues to fascinate centuries after she governed Egypt. those wide-ranging essays discover such issues as Cleopatra's debatable journey to Rome, her suicide by way of snake chew, and the afterlife of her love potions. They view Cleopatra from the Egyptian viewpoint, and view the reception in Rome of Egyptian tradition, particularly of its faith and structure. They talk about motion pictures approximately her, and examine what encouraged Egyptomania in early smooth paintings. jointly, those essays remove darkness from Cleopatra's legacy and illustrate the way it has been used and reused in the course of the centuries.
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Additional info for Cleopatra: A Sphinx Revisited
35 Six statues of Cleopatra represent the first use of the triple form of the uraeus in Egyptian royal sculpture, its meaning still unclear. Initially it was suggested that the triple form of the uraeus represented a triple rule, although the double, as mentioned previously, typically represents the unification of Upper and Lower Egypt. Recently it has been suggested that for Cleopatra VII, the three cobras could represent (1) Cleopatra’s title of “Queen of Kings”; (2) territorial gains, following the Donations of Alexandria; or (3) the divine triad Horus, Isis, and Osiris, as a means of representing Caesarion, Cleopatra, and Ptolemy XII her father, who not only called himself the “New Dionysos” but inspired the queen to adopt the title Philopator (“father-loving”).
Bianchi in “Not the Isis Knot” (1980) and was re-iterated by me in “The Ptolemaic Influence on Egyptian Royal Sculpture,” in A. , Current Research in Egyptology 2000 (2000), and in fuller detail with a full catalog of this type of image in my Ptolemaic Royal Sculpture (2001): 45–53. 39. R. S. Bianchi, R. A. Fazzini, and J. , Cleopatra’s Egypt: Age of the Ptolemies (1988): 181, no. 73. 40. Ashton, “The Ptolemaic Influence on Egyptian Royal Sculpture” (2000): 2. 41. S. Walker and P. Higgs (2001): 160, no.
J. A. Auerbach, The Great Exhibition of 1851: A Nation on Display (1999): 168. 26. Fullest account in Martina D’Alton, The New York Obelisk, or How Cleopatra’s Needle Came to New York and What Happened When It Got Here (1993). 27. Henry H. Gorringe, Egyptian Obelisks (1882). One aspect of the project that deserves mention is that all the men involved in it, including the financial backer William Henry Vanderbilt, were Freemasons; a parade of nine thousand Masons marched up Fifth Avenue for the ceremony of laying the cornerstone.
Cleopatra: A Sphinx Revisited