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In The Egyptian Elite as Roman Citizens: Looking at Ptolemaic Private Portraiture Giorgia Cafici offers the analysis of private, male portrait sculptures as attested in Egypt between the end of the Ptolemaic and the beginning of the Roman Period.

\"In The Egyptian Elite as Roman Citizens Giorgia Cafici offers the analysis of private, male portrait sculptures as attested in Egypt between the end of the Ptolemaic and the beginning of the Roman Period. Ptolemaic/Early Roman portraits are examined using a combination of detailed stylistic evaluation, philological analysis of the inscriptions and historical and prosopographical investigation of the individuals portrayed. The emergence of this type of sculpture has been contextualised, both geographically and chronologically, as it belongs to a wider Mediterranean horizon. The analysis has revealed that eminent members of the Egyptian elite decided to be represented in an innovative way, echoing of portraits of eminent Romans of the Late Republic, whose identity was surely known in Egypt\"--.

Egyptian bronze statuary has proven particularly intractable to chronological investigations. This study exploits clues offered by bronze royal statuettes to make identifications or stylistic assignments. A fuller understanding of the artistic milieu and role of small royal bronze statuary results.

A detailed examination of Ramses II which resides in the Louvre Museum in Paris.

An egg carved from a horse's thighbone. An oldfashioned glass vial dusty with powdered bone. Tiny bird wing bones arranged in a careful spiral. Memories of a lost figure blasted against a wall like a nuclear shadow. A small table piled with neat pyramids of pomegranates, offerings to unknown gods or lost friends. A solitary rowing boat, without oars or sailor, drifting on a featureless sea at the end of the world. The imagery of Australian sculptor Peter Tilley hovers continuously between life and death, hope and fury, despair and atonement. Like an eternal Day of Judgement, each sculpture seems to repeatedly plead for answers: Am I worthy? What happens when I die? Will you keep your side of the bargain? What can I do to protect myself?

Sculpture is the most representative form of ancient Egyptian art. Given sculpture's importance as a receptacle of ancient Egyptian thought, a number of theoretical frameworks are applied with which to understand its significance. This chapter examines statuary basics (statue types, materials, manufacturing techniques, contexts) and then presents a synthesis of its development from the Predynastic through Late Periods, by examining its forms and styles. The chapter explains how statues are studied in art historical literature with attention to the advantages and disadvantages of these methods. The chapter concludes with a discussion on the methodological analysis of Egyptian sculpture.