Cleo’s Tomb Update: the Anthony Photo

This just in as I’m putting together Explorator … Reuters has entered the ‘Cleopatra’s Tomb’ hype with an article that includes an interesting slide show, among which is:

Reuters Photo
Reuters Photo

… presumably the alabaster Cleopatra, the coins, and — most importantly — the mask I’ve been curious about for over a year. Here’s another photo with the mask in the hands of an omnipresent Egyptologist:

Reuters Photo
Reuters Photo

The cleft in the chin is what is being used to tie this to Marcus Antonius, apparently.  So let’s compare … here’s a damaged bust which is possibly MA:

From UTexas
From UTexas

The cleft is definitely there … what I find interesting though, is that a granite statue identified as Marcus Antonius in the Greco Roman Museum in Alexandria (which I can’t find a ‘free’ photo of) doesn’t have this cleft. Some revisionism will be necessary either way, I suspect.

Cleopatra’s Tomb Again!!

Okay … this is a long-developing story. Last year — almost to the day — Zahi Hawass was all excited about some major underground tomb at Tabusiris Magna; it seemed to be building on something announced a couple of years before that. A month later, we were pretty much getting the same story. Then we learned that the archaeologist in charge — Kathleen Martinez — had found an alabaster head of Cleo. In June, 2008, we heard pretty much the same. Then (in an item which didn’t get much attention) Dr. Hawass was saying there was nothing remotely connected to Tony and Cleo at the site. After that, we didn’t really hear anything … until today, of course. My mailbox is overflowing with coverage of this, but as most of the info seems to stem from an AP wire story, we’ll give the incipit of one version:

Archaeologists next week will begin excavating three sites in Egypt near the Mediterranean Sea that may contain the tombs of doomed lovers, Cleopatra and Mark Anthony.

In a statement Wednesday, Egypt’s Supreme Council of Antiquities said the three sites were identified last month during a radar survey of the temple of Taposiris Magna as part of the search for the lovers’ tombs.

The temple is located on Lake Mariut which is today called Abusir, near the northern coastal city of Alexandria, and was built during the reign of King Ptolemy II (282-246 B.C.)

Teams from Egypt and the Dominican Republic have been excavating the temple for the last three years.

The celebrated queen of Egypt and her lover, a Roman general, committed suicide after being defeated in the battle of Actium in 31 BC. Ever since, questions have lingered over where the lovers’ bodies are buried.

Excavators have also found a number of deep shafts inside the temple, three of which were possibly used for burials. The leaders of the excavation believe it’s possible Cleopatra and Mark Anthony could have been buried in a deep shaft similar those already found, according to the statement.

Last year, archaeologists at the site also unearthed a bronze statue of the goddess Aphrodite, the alabaster head of a Queen Cleopatra statue, a mask believed to belong to Mark Anthony and a headless statue from the Ptolemaic era at the excavation site.

The expedition also found 22 coins bearing Cleopatra’s image.

There’s nothing here we haven’t heard before including this mysterious “mask believed to belong to Mark Anthony”. This detail is also mentioned in a press release posted at Dr. Hawass’ site (which may be the source of the AP coverage), but is described in a bit more detail:

Among the most interesting finds is a unique mask depicting a man with a cleft chin. The face bears some similarity to known portraits of Mark Antony himself.

The mask was also mentioned in coverage last May — in a piece with a slideshow depicting the ‘alabaster statue’ (maybe), but I have still yet to see a photo of the mask. Methinks there’s some movement afoot to deflect attention from all that Arsinoe business (or perhaps build on it) …

UPDATE (04/18/09): Giles Coren has an interesting oped piece in the Times on how  this drive to get the ‘truth’ (about things like Cleo, the Shroud of Turin, etc.) via archaeology “diminishes” us as humans — the idea being that we are asking questions we don’t really want the answers to. I think, however, we need to distinguish between searches for things like the tomb of Cleopatra (or even Alexander) by legitimate archaeologists from the fringe types who make the same look bad. It would also be nice if the press gave as much coverage to legitimate finds as they do to sensational claims …

From the Horatii to Cleopatra

Here’s an interesting bit of synchronicity … my spiders picked up a piece in the Independent which is about Giotto’s Lamentation of Christ … the incipit, however, is rather more in the purview of this blog:

There is also anachronism in viewing. We can’t help looking at pictures through our own later eyes. We see them in ways their first spectators could never have. They suggest to us things that didn’t exist then. This needn’t be a distraction. If the likeness is precise, it may help us focus the picture more clearly.

Take Jacques-Louis David’s painting, The Oath of the Horatii. It’s a frieze-like, neo-classical composition. It shows an ancient Roman legend. Three brother-heroes, their right arms extended straight out, are swearing self-sacrificial loyalty to their father, who holds up their swords.

But the contemporary US painter Alex Katz saw it this way. The gestures, he said, “are very, very clear, they’re very decisive – clear in what they are supposed to be as gestures… When I saw the David with the three swords I thought of three guys with cigarette lighters and a woman with a cigarette. That’s what it looked like to me.”

We’ve leapt from ancient Rome (where the scene is set) or the late 18th century (when it was painted) to a Hollywood scene in the mid 20th century – three young blades, shooting out their arms to offer some broad a light. This is far from the subject of the picture. But the precision of the visual likeness brings the modern viewer very close to the shape and speed of its three simultaneous lunges.

… which reminded me of this on-set photo from the Claudette Colbert version of Cleopatra (directed by Cecil B. DeMille):

from the John Springer Collection
from the John Springer Collection

… which coincidentally, is celebrating its 75th anniversary this week, coverage of which was also flooding my email box … here’s a representative bit from the Baltimore Sun:

Claudette Colbert is the sauciest Cleopatra since the 1st century B.C. in Cecil B. DeMille’s 1934 production of Cleopatra, a classic from those frisky days before Hollywood got itself all moral and safe.

DeMille, the master of the early-Hollywood epic, spent his career giving the people what they wanted, and what that meant was movies featuring as much titillation as contemporary standards would allow, usually in stories based on history or the Bible. Colbert had scorched the screen twice already in DeMille productions – 1932’s The Sign of the Cross, in which she famously took a nude bath in asses’ milk, and 1934’s Four Frightened People – but neither of those is as much fun as Cleopatra, in which she seduces two continents, gets delivered to Caesar (Warren William) wrapped in a rug and distracts poor Marc Anthony (Henry Wilcoxon) so that he doesn’t know which way is up, much less which way is Rome.

Of course, it’s all delightfully anachronistic; Colbert’s about as Egyptian as George Washington, and the 1930s vernacular doesn’t exactly match the time period. But who cares? Colbert is riveting (in costumes that weighed as much as 60 pounds), DeMille’s mastery of the deliciously overblown is unmatched, and the film’s huge art-deco sets belong in a design museum.

For my part, I’ve always hoped someone would find a copy of the Theda Bara version … photos like this from a 1917 flick definitely spark curiosity (although we admit there seems to be obvious anachronism here as well; whether it’s delightful or not is probably a matter of personal taste):

Wikimedia Commons Photo
Wikimedia Commons Photo

Michael Jackson’s Cleopatra

Here’s something I didn’t know … this well-known (to Classicists, anyway) painting of Cleopatra’s death by D. Pauvert:

… is currently owned by the monogloved-one.  Somehow I always thought MJ would have some ‘connection’ to Cleo … whatever the case, he’s putting this one up for auction.

Cleopatra, Arsinoe, and the Implications

Just before bed last night I was deluged with bloggables, chief among which was a report in numerous newspapers about tests having been done on the bones of someone believed to be Arsinoe, Cleopatra’s murdered sister.  This one presents numerous difficulties and the press might be jumping the gun (once again), although it is clear this is hype for a television program masquerading as news. In any event, let’s begin with a bit from the Times‘ coverage on the identification of the bones as Arsinoe:

The distinctive tomb was first opened in 1926 by archeologists who found a sarcophagus inside containing a skeleton. They removed the skull, which was examined and measured; but it was lost in the upheaval of the second world war.

In the early 1990s Thür reentered the tomb and found the headless skeleton, which she believed to be of a young woman. Clues, such as the unusual octagonal shape of the tomb, which echoed that of the lighthouse of Alexandria with which Arsinöe was associated, convinced Thür the body was that of Cleopatra’s sister. Her theory was considered credible by many historians, and in an attempt to resolve the issue the Austrian Archeological Institute asked the Medical University of Vienna to appoint a specialist to examine the remains.

Fabian Kanz, an anthropologist, was sceptical when he began this task two years ago. “We tried to exclude her from being Arsinöe,” he said. “We used all the methods we have to find anything that can say, ‘Okay, this can’t be Arsinöe because of this and this’.”

After using carbon dating, which dated the skeleton from 200BC-20BC, Kanz, who had examined more than 500 other skeletons taken from the ruins of Ephesus, found Thür’s theory gained credibility.

He said he was certain the bones were female and placed the age of the woman at 15-18. Although Arsinöe’s date of birth is not known, she was certainly younger than Cleopatra, who was about 27 at the time of her sister’s demise.

The lack of any sign of illness or malnutrition also indicated a sudden death, said Kanz. Evidence of the skeleton’s north African ethnicity provided the final clue.

Caroline Wilkinson, a forensic anthropologist, reconstructed the missing skull based on measurements taken in the 1920s. Using computer technology it was possible to create a facial impression of what Arsinöe might have looked like.

“It has got this long head shape,” said Wilkinson. “That’s something you see quite frequently in ancient Egyptians and black Africans. It could suggest a mixture of ancestry.”

The Thür mentioned is Hilke Thür of the Austrian Academy of Sciences. The tomb in question is actually in Ephesus and we know that Arsinoe was actually killed there at Cleopatra’s request and on Marcus Antonius’ orders. The identification of the tomb as belonging to Arsinoe seems reasonable (if not exactly secure) enough.  As might be expected, though, the ancestry side of things is what the press is latching on to … Dr Thur is quoted in the Telegraph (and there’s a similar quote in the AFP coverage):

“It is unique in the life of an archaeologist to find the tomb and the skeleton of a member of Ptolemaic dynasty. The results of the forensic examination and the fact that the facial reconstruction shows that Arsinoe had an African mother is a real sensation which leads to a new insight on Cleopatra’s family and the relationship of the sisters Cleopatra and Arsinoe.”

The headlines of both the Telegraph (“Cleopatra had African ancestry, skeleton suggests”) and the AFP coverage (“Cleopatra ‘was part-African'”) show the leap the press is taking with this one, despite the fact that we are not entirely sure who Cleopatra’s mother was (she is not named in any Classical source as far as I’m aware and the suggestion that it was Cleopatra V (Arsinoe’s mother) is a long-standing conjecture) — she and Arsinoe did not necessarily have the same mother.  But beyond that, we get this skull business and having Arsinoe’s ethnicity actually being determined from a reconstructed skull based on measurements taken in the 1920s?  Although I fear being labelled as one having the “brainpan of a stagecoach tilter”,  can there not be some actual DNA tests on the skeletal material? Was it even suggested? I think the jury’s still very much out on this one …

UPDATE I (03/16/09): I note that Mary Beard agrees with me – The skeleton of Cleopatra’s sister? Steady on.

UPDATE II (03/16/09): Late last night a synapse fired and I remembered we had some hype on this back in September, but it was rather vague. Just to refresh folks memory (if you didn’t click the link), we were promised that, “This film, based on riveting new archaeological evidence, gives a fresh perspective on the world’s original femme fatale.” We were told that, “… more details will be announced about the forensic evidence at a later date.”  Back in September I wondered what this “riveting” evidence might be and wondered at Zahi Hawass’ silence on the matter. I still wonder about that, but what really was keeping me awake last night was the question of whether a member of the Egyptian royal family — albeit in exile and as a result of a political murder — would have been funerated non-Egyptian style (sans mummification) or Egyptian style.  Not something we can know, alas.

Outside of that, other synapses insisted on firing and I remembered from back in my undergrad days not the much-hyped reconstruction of (purportedly) Philip II’s skull, but rather the less-hyped one which followed thereupon – that of a skull purported to belong to Midas, found in the so-called Midas Mound at Gordion. That skull also was ‘elongated’ and so I dug up A.J.N.W. Prag, “Reconstructing King Midas: A First Report”, Anatolian Studies 39 (1989) and on pp. 160-161 we read:

The face that emerged was somewhat long, with the upper part rather lightly built but the lower part and the jaw fairly substantial: the face of an elderly man with a particularly long back to his head: both Mr. Neave and Professor Alpagut had noted an unusual elongation to the back of the skull, so that the sides were somewhat flattened and the top pushed up almost into a ridge: Professor Alpagut suggests that this is the result of bandaging the skull tightly while the individual was still a baby, a “cosmetic” practice noted on other skulls found in Turkey.

We’ll have to wait and see if the BBC ‘documentary’ mentions this sort of thing … I’d also like to know if anyone involved in this has studied skulls from Macedonian burials to see whether there might be some evidence of elongation within that culture.

UPDATE III (03/16/09): Dorothy King has some useful observations on elongated skulls – Strange Skulls: Arsinoe’s So-called Tomb at Ephesus

UPDATE IV (03/20/09): Katherine Griffis-Greenberg has tracked down an abstract of a paper by the folks who did some DNA testing on the skeleton (paper to be delivered at the annual meeting of the American Association of Physical Anthropologists on April 3, 2009). From p. 216-217 of the abstract collection comes:

Cleopatra identified? – Osseous and molecular challenges. F. Kanz, K. Grossschmidt, J. Kiesslich.

Arsinoe IV of Egypt, the younger sister of Cleopatra, was murdered between the ages of 16 and 18 on the order of Marc Antony in 41 BC while living in political asylum at the Artemision in Ephesus (Turkey). Archaeological findings and architectural features point to the skeletal remains found in the socalled Oktogon – Heroon in the center of ancient Ephesus – to being those of Arsinoe IV. Respective remains were dated and investigated by forensic osteology, radiology and ancient DNA analysis to assess identification: Radiocarbon dating (VERA-4104) isolated the period between 210 and 20 BC (94 % prob.). Morphological features suggest a female with an estimated body height of 154 cm (+/- 3 cm) and 217 with limbs in good proportion to one another. Epiphyseal closure and histological age estimation (femoral cross sections) revealed a consistent age at death between 15 and 17 years. The whole skeleton appeared to belong to a slim and fragile individual (soft tissue reconstruction was applied and compared to ancient sources). Stress markers, like Harris’ lines were absent and no sings for heavy workload or pre- or perimortal traumas were found. Ancient DNA analysis was carried out for several bone samples. No nuclear DNA was detected, most likely due to diagenetic factors and storage conditions. Endeavors to find mitochondrial DNA are currently in progress. Investigations could neither verify nor disprove the theory on the origin of the remains. However, after successful mtDNA typing a maternal relative reference sample would be required for final identification.

So I guess we do have the answer to our DNA testing … clearly any results will not help in regards to identification, unless perhaps this DNA can be compared to some Macedonian burials. But just to complicate things, I’m pretty sure that EVERYONE has some African mtDNA, no?