Cleopatras Visual Representations:

A Concealed Revolutionist Under the Cover of Conventions

Xinyu Lu
Honors 5
Professor Gurval
March 17, 2015

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As the last Ptolemaic queen of Egypt, Cleopatra received centuries of attentions

and the legends that evolve around her are eternal subjects of poems, films, literatures
and other artistic works throughout the history. In light of the visual representations
and traditions of Ptolemaic queens, Cleopatra possesses the identity of both a faithful
follower and iconoclastic dissident. Cleopatra VII emulates Arsino IIs visual
representations of Ptolemaic royalty and familial associations and deification.
Moreover, by Egyptianizing her representations through the establishment of her cult
and coinage, Cleopatra establishes her political power. Nevertheless, although
Cleopatra inherits characteristics from Arsino IIs reign, the queens unconventional
political ideology distinguishes her from other Ptolemaic queens. Cleopatras seizure
of paternal powers and the actions of establishing herself as an emblem of power are
attributes of her unconventionality.
By featuring herself with the aquiline noses and pointy chin on the coins during her
reign, Cleopatra emulates Arsino IIs visual representations of Ptolemaic royalty.
During Cleopatra VIIs reign, she issued a substantial amount of coins, among most of
which she is presented with the inherited features from her Ptolemaic queen ancestors.
Upon some examinations of Cleopatra VIIs and Arsino IIs coins, ones attentions
would be immediately draw to most characteristic biological features: the aquiline nose
and pointy chin. Examining Cleopatras coins in chronical order, one would find that
the emphases on hooked nose with convex nose bridge, flared nostrils and pointy chins
are consistent with time. The silver tetradrachm minted at Ascalon in 50/49 BCE, is
deduced to be one of the earliest coin that Cleopatra might have issued during her reign.

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In figure 4, one can see the prominent feature of the Roman nose and pointy chin in
Cleopatras image. In the bronze eighty drachma of Cleopatra VII of Egypt (see fig. 5),
which were in circulations from 51 B.C. to 30 B.C., one can see an even more
exaggerations on hooked nose with flared nostrils and the pointy chin. Moreover, in her
later reigns, Cleopatra issued coins with her image accompanied by Caesarion and
Antony as shown in figure 6, 8, 9 and 10. Her countenance was depicted with more
maturity as the time lapses, the biological features, the hooked nose and pointy chin,
are consistent through all the later coins. Regardless of the degree of similarities
between Cleopatras real appearance and her coinage images, Cleopatra intended to
establish her visual image that showcases Ptolemaic biologic features through the
aquiline nose and pointy chin. A look at Arsino IIs image with King Ptolemy II
demonstrates striking similarities with Cleopatras images. From the octodrachm of
Ptolemy II Philadelphos, a coin issued when ArsinoII was alive, one is pointed to the
visual image that ArsinoII hoped to construct for herself. The biological features of
highly convex nose bridge, flared nostrils and a pointy chin are the most obvious facials
features of Arsino II. Decadrechm and the silver octodrachm issued for Arsino II
posthumously also contain similar prominent features(see fig.2, 3). The similarities
between the visual image of Cleopatra and Arsino II demonstrate Cleopatras
emulations of her ancestor. The Ptolemaic trait of hook nose and point chin are
acknowledged among scholars: Ptolemaic royal representationsshow a stylized
version of the rulers Greek portrait types or Egyptian versions of the so-called Physcon
portraits. The featuresare reminiscent of early Ptolemaic royal portraits, particularly

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in respect to the nose, with its flared nostrils and slightly bulbous appearance, and the
fleshy lips on the mouth, which are forced into an archaizing smile(Ashton 2002).
Thus it is evident that Cleopatra VII utilizes coinage as an effective tool in the
establishment of her visual representations.
Furthermore, by portraying herself with the diadem and cornucopias on both coins
and sculptures, Cleopatra imitates Arsino IIs royal emblems in hope to establish her
own visual representations that distinguishes her from other queens. In figure 1, one
can see that ArsinoII wears a diadem on her head, and the diadem is worn as a symbol
of royalty and sovereignty. In the posthumous image representations of ArsinoII (see
fig. 2 and fig. 3), the diadem has some distinctive features: the crown shaped edges
which displays much resemblance with a crown. The back of decadrachm(see fig. 2)
and octodrachm(see fig. 3) of Arsino II are double cornucopias, which serve as a
symbol of abundance and nourishment. Although the associations between ArsinoII
and the double cornucopias are established after ArsinoII was deceased, it is regarded
as a unique emblem of ArsinoII and establish a tradition through the dynasty (Ashton
2014). Cleopatra well followed such Ptolemaic queen tradition of associating herself
with double cornucopias. The reverse side of the bronze coin of Cleopatra and
Caesarion(see fig. 6) illustrates her emulations of Arsino II. In the coin, two
cornucopias are on the reverse side of her portrait. The employment of doubled
cornucopias reflections Cleopatras wish to be associated with abundance and
nourishment as well. Not only does Cleopatra allowed the appearance of double
cornucopias on her coins, she also employed such feature on her sculpture. The Greek-

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culture-based cornucopia becomes a symbolism for Ptolemy queens thats been

employed through generations. The blend of Macedonian identities with the title of
Egyptian rulers contributes to such visual representation of Ptolemaic royalty.
Not only did Cleopatra imitate Arsino IIs visual representation of Ptolemaic
royalty, she also borrowed elements from ArsinoIIs representations of her familial
associations with the male Ptolemy kings and heirs. Explaining her relationship with
her brother co-regent Ptolemy II with the titleTheoi Adelphoi through the octodrachm
that Ptolemy II issued at 270 B.C.(see fig. 1), ArsinoII started the fashion of marrying
ones siblings(Ashton 97, 101). Furthermore, the decadrechm and octodrechm that
Ptolemy II issued posthumously further established her with title
(Of Arsino Philadelphos). Arsinos establishment of familial
association with a powerful male ruler is followed by Cleopatra. Cleopatra established
her epithet as Thea Philopater, the Goddess who loves her father, and she let this
epithet appear on Egyptian monuments. To understand the importance of Cleopatra
VIIs title Thea Philopater, one has to dive into genealogy of Ptolemy family and
raise the awareness on the question of Cleopatra VIIs legitimacy from her lineage.
According to the established Egyptologist Hlbl, Cleopatra Tryphania, the sister of
Ptolemy XII, becomes Cleopatra VI Tryphania, who married to Ptolemy XII,
Cleopatra VIIs father(Hlbl 2001). And the only descendent from Cleopatra VI
Tryphania and Ptolemy XII is Cleopatra Berenike IV. Cleopatra, who were born to an
unknown mother, which makes not only Ptolemy XII illegitimate, but also his four
children(Ptolemy XIII, Ptolemy XIV, Cleopatra VII, Arsino)(Hlbl 2001). This

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contention brings up the necessity and importance of Cleopatras title Thea Philopater.
Since Cleopatras birth mother is not royal, she might be questioned by priests and other
elites of her legitimacy of succession to the throne. The title not only conforms to the
tradition followed by other Ptolemaic queens but also legitimizes her ruler position and
through deification. Ashton endorses such idea that Cleopatra adopted title father
loving for two purposes. First, it continued the tile used by her own father and secondly
it linked her to him as his rightful heir(Ashton 2008: 40). ArsinoII, who audaciously
married her brother, justifies her action by lending explanations from mythology of
Osiris and Isis to claim her legitimacy as a Ptolemaic queen. Regarding ArsinoIIs
political tactic as a paradigm, Cleopatra justified herself as a legal ruler through
establishing her association with her father as Thea Philopator.
Cleopatras emulations of ArsinoIIs also extend to her familial associations with
her younger brothers and her sons. The representations of her familial associations are
important political moves that served for her political ambitions to establish monarchy.
At the temple dedication at Kopotos, Cleopatra was titled as Kings Wife, which
suggests a co-ruling period with Ptolemy XIII or Ptolemy XIV(Ashton in Walker and
Aston eds. 2005: 25-6). In Ptolemaic Egypt, Ptolemies awarded themselves with title
of sunnaoi theoi, gods who share the temple(Wellendorf 2008). Thus, the temples
served as important tools through which the Ptolemies furthered their political agendas.
By promoting her image as Kings wife, Cleopatra claimed her power and supremacy
in Egypt. Such idea is affirmed by Ashton as she points out that The title of Kings
wife at Kpotos suggests Cleopatras monarch ruling period under the name of her

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young brothers(Ashton in Walker and Aston eds. 2005: 25-6). By establishing her
familial associations with her brother co-rulers, Cleopatra gained a new platform
through which she would not be obstructed when she engaged in politics. Cleopatra
further elevated her political status by integrating her sons into her rgime had they
lived longer. She named her sons Ptolemy V Caesarion and Ptolemy Philadelphus
(Ashton 2008: 32). Caesarion is to proclaim her connection with the great ruler of the
Rome Empire and Philadelphus is associated with her father, who born the same title
Philadelphus as well. One can observe the naming of the two sons contains
Cleopatras attempts to integrate the two new heirs title to fit into her fathers
established cult that she inherited during her reign through her title Philopator.
Among Cleopatras imitations of Arsino IIs visual representations, the
deifications appear to be the most important political heritages that Cleopatra acquired
from her predecessor. ArsinoIIs deifications are represented through her ram-shaped
ears which are representative on her posthumous coins(see fig. 2, 3), her crown (see fig.
14, 16, 18), her epithets of daughter of Geb and image of Isis represented by
colossal statue of Arsinoe II (Bianchi and Fazzini 1988: 48, see Fig. 11). The crown on
Cleopatras head shown on the wall of temple of Hathor at Dendera(see fig. 17) highly
resembles ArsinoIIs crown on the gate of Ptolemy II Philadelphos at Philae. Arsino
IIs insignia consists of the Crown of Lower Egypt, the presence of two straight feathers,
cows horn and a solar disk complemented by rams horns, while Clepatras insignia
seems to be a complete replication of ArsinoIIs with the exception of cows horn.
ArsinoIIs crown is regarded as a variant of the crown of the god Geb and thus one

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can observe that by claiming herself daughter of Geb, ArsinoII associates herself
with Isis (Bianchi 1988: 45). Cleopatra inherited this deification and through visual
representations on temple of Hathor at Dendera, where she deified herself as Isis.
Another similarity is the multiple uraei that both of the two queens wore (see fig.11 and
12). On the colossal statue of Arsino II (see fig. 11), one observes that she wore
doubled uraei, and on the Black Basalt Sculpture of Cleopatra(see fig. 12), one observes
tripled uraei are worn. Arsino II uses doubled uraei to distinguish herself from
Berenike I(Ashton 2001: 32). Cleopatras employment of triple uraei in her image
illustrates her admiration of ArsinoIIs creativity, as well as her attempts to distinguish
herself from other processors.
More than simply imitating ArsinoIIs visual representations of her deification,
Cleopatra further Egyptized her image representations of her deifications, and she
showcased her political ambitions through such Egyptizations. Throughout ArsinoIIs
life, she was only associated with Goddess Isis, while Cleopatra associated herself with
a number of Goddess, which include Isis, Hathor, Aphrodite and possibly Venus (Bevan
1927). By constructing the temple of Hathor at Dendera and leaving her image on the
wall of the temple, Cleopatra further Egyptizes her deification of Isis to Hathor, the
Egyptian version of Isis. Following Ptolemaic queens tradition of deifying themselves
established by ArsinoII, Cleopatra issued a coin on which she claims herself to be
thea neotera(Ulmer 2009: 228). The titleThea Neotera was never officially used
any queen of Ptolemy Dynasty, and the title might refer Cleopatra as Isis(Aphrodite)
or Hathor(the Hellenized Aphrodite- Hathor) (Ulmer 2009: 228). At the same time, A

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cult of Neotera was also practice in the Land of Israel(Ulmer 2009: 228). It is
reasonable to deduce that Cleopatra established her own cult, alluding to Cleopatra
Thea, a prominent Ptolemy who became queen of Seleucid(Ulmer 2009: 228) . With
her Egyptianizations, Cleopatra associated herself with Goddess and publicly
celebrated her divinity while she was still alive, which breaks the tradition of fully
deifying and elevating the status of deceased queens(Ashton 2003: 99). Although
enjoyed an individual cult, ArsinoII only co-ruled with her brother for five years and
the massive propagandas of her deified image as Isis are done after her death: her
brother Ptolemy II decreed that a statue of the new goddess should be placed in every
temple in Egypt(Ashton 2003: 97). Only deceased queens enjoys the status of Goddess
to be placed in the temple, because for traditional Greeks, it was not acceptable for
mortals to be divine(Ashton 2003: 99) and Ptolemies are Macedonian decedents. As a
revolutionary, Cleopatra defied such traditions. Cleopatras political ambitions are well
showcased in her actions to deify herself while she was still alive.
Different than Arsino IIs or any other Ptolemaic queens deifications, the first
stage of Cleopatras deifications commenced from the start of her reign. The fatherloving title was a deliberate choice and such choice surpasses the superficial purpose
of establish herself as legitimate ruler, or mere adoption of Ptolemy XIIs portrait types
on coins(Ashton 2003: 119). A more profound purpose of the father-loving title is her
use of title Nea or New Isis(Ashton 2003: 119). Ptolemy declared himself as Neo
Dionysius and Cleopatras use of Nea seems to emphasis that Cleopatra is not only
associated with goddess but had become the God by natural inheritance of divinity

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from paternal God, Neo Dionysius(Ashton 2003: 119). It is said that such idea is not
alien to Egyptians according to the Egyptian tradition of considering living pharaoh as
Horus and deceased pharaoh as Osiris(Ashton 2003: 119). Two years following the
birth of Caesarion, the death of Caesar gives Cleopatra the best chance to finish the
process of her deifications. The death of a Pharaohs father effectively made
Cleopatra Isis(Ashton 2003: 119).
Cleopatras deifications as Isis were well fulfilled throughout her reign, even
during her relationship with Antony. The deification can be explained from two pieces
of evidences: the bronze coin that she issued to celebrate Caesarions birth and a
fragment of an Egyptian-style dyad showing Cleopatra as Isis from Alexandria(see fig.
6 and 18). On the bronze coins of Cleopatra and Caesarion in cradle, the queen appears
with diadem indicating her divinity (see fig. 6). In the lower right corner of the coin is
the little head of Caesarion. The appearance of mother and child, alludes to the divine
image of Isis and Horus(or Harpocrates)((Ashton 2003: 120). Moreover, the scepter
behind her in the lower right corner of the coin further reveals Cleopatras intention to
deify herself as Isis. Scepters are often shown in the temple reliefs in which deified
kings and queens hold them in their hands as an emblem of power from divinity.
Another piece of evidence of Isiss successful self-deification as Isis is the fragment of
Egyptian-Styled dyad found in Hadra quarter of Alexandria(see fig. 18). The Hadra
queen bust is significant in two reasons: the full amalgamation of queen, goddess and
Isis and its find spot(Ashton 2003: 120). The vulture headdress of the Hadra queen
statue indicates a fully-fledged goddess(Ashton 2003: 120). The statue stands with

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her son and her holding hands shows their close bond(Ashton 2003: 120). The
supportive and protective role of the queen suggests goddess support for the
pharaoh(Ashton 2003: 120). The statues of Cleopatra, as Isis, in support of Caesarion
is a parallel to her issued coin in celebration of Caesarions birth(Ashton 2003: 120).
From her iconography and deifications on the inscriptions, its reasonable to
conclude that Cleopatras political ambition is unconventional as she tries to center the
political powers on herself as an independent female ruler. Cleopatra defies tradition
by establish her own monarchy. Although Cleopatra ruled with a male consort, but the
Egyptian legitimate male consorts, Ptolemy XIII, XIV or Caesarion, are either too
young to rule or are illegitimate Romans who are both too far from Egypt to have any
substantial influences on her sole reign. As recorded on the temple relief of Koptos,
Cleopatra is titles as Kings wife in cartouche on the wall. The title suggests that the
construction of the temple is during her marriage to either Ptolemy XIII or Ptolemy
XIV(Ashton 2008: 48). Cleopatra was accompanied by her brothers who were too
young to rule at the time and this facts reveals that Cleopatra enjoyed a time of
monarchy. From the history of Ptolematic Queens, a long-time period of a female
rulers monarchy is unseen in any of the predecessor Ptolemy queens except then
Cleopatra VII. The unconventionality of Cleopatras reign distinguishes her from other
Ptolemaic queens.
Defying the tradition of having Ptolemaic queens heads behind their male
consorts on the same side of a coin, Cleopatra issued coins that only has her portrait
on one side of the coin. Although some might argue that the Cleopatras tetradrachm,

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octodrachm and Denarius(see fig. 8, 9 and 10), on which Cleopatra and Antony
appear on opposite sides, is an emulation of Ptolemy II and Arsinoe II s octodrachm,
it is in fact quite the opposite. On Cleopatras tetradrachm (see fig. 9), only Cleopatra
was deified, as the text goes, Queen Cleopatra, Thea Neotera, while Antony is only
described as Antony, Commander- in-chief for the third time, Triumvir. She barely
acknowledged the glory of Antony and there are no deifications for Antony on any of
the coins that she issued. On the denarius Cleopatra issued(see fig. 10), on which
Antony is described as Antonius, Armenia has been subjugated. On the bronze coin
of Cleopatra and Antony issued at year 21 of Cleos reign(see fig. 8), there is no word
for Antony, all the words are used to describe and eulogize Cleopatras reign.
Although it is a fact that Antony is a Roman and thus wouldnt be deified on an
Egyptian coin, the presence of Antony is just to comply by the convention of coupled
rulers.
Moreover, by appearing by herself alone, Cleopatra defied the tradition that the
image of a queen should appear behind the male ruler as a spouse, and established the
visual representation of herself as a sole ruler. According to a research on Ptolemaic
queens political power, although in the eponymous cult, several queens enjoyed an
individual worship, in addition to their place behind their husband, the queens still had
a lower status than their male consorts (Bianchi 50). Cleopatra is an exception to such
traditions, because In the ritual scene, she can appear alone, or in front of the male
ruler(Bianchi 51). Cleopatras appearance alone in the ritual scene can be best
exemplified in the Stela of Cleopatra VII Offering to Isis(see fig.15). On the

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dedicatory stela, Cleopatra appears alone for the sacrifice made to Isis. Cleopatra in this
image is headed with double crowns and is offering a jar of wine to Isis, who is
nurturing Horus. The inscription below states, For Queen Cleopatra, the goddess, the
father loving, [has been dedicated] the seat [topos] of the associations of Isis. Snonais,
the president of which is Onnophris, July 2, 51 B.C(Muszynski 1977). Queen who
appears alone on a stela making offering to God and Goddess is a rarity, because if there
were a male ruler, he would add himself to the religious inscriptions. Some evidence
suggested that this stela might not be initially constructed for Cleopatra and the
disappearance of Cleopatras co-ruler of the time, Ptolemy XIII, suggests later
alterations of the inscriptions on the stela. Nonetheless, the inscription left out the male
ruler as if the existence of male consort is erased by Cleopatra. It is, thus, evident that
Cleopatras appearance alone indicates her unconventional political ideology: to rule
solely. Cleopatras attempts to be sole ruler is a characteristic that was rooted in her
from an early stage of her reign.
Although Cleopatra imitates ArsinoII in visual representations of Ptolemaic
royalty and familial associations and deification and both of the queens had a
substantial cult, their remembrance by the rest of worlds highly differs. ArsinoII was
almost immediately forgotten by history once the Ptolemaic Dynasty ended, while
Cleopatra receives long-lasting attentions. Cleopatras seizure of paternal powers, the
Egyptianizations of her visual representations and the actions of establishing herself
as an emblem of power constitute her unconventionality. It is reasonable to conclude
that some popularities of Cleopatra as a subject of studies arise from her

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unconventional political ideology that makes her a revolutionary and distinguishes her
from other conventional Ptolemaic queens.

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Images Cited

Fig. 1. Gold Octadrachm of Ptolemy II.

Fig. 2. Decadrechm of Arsinoe II.

Fig.3. Octodrachm (Coin) Portraying Queen ArsinoII.

Fig. 4. Cleopatra VII AR Tetradrachm,

Ascalon Mint.

Fig. 5. Cleopatras Early Coinages,

Alexandria, 51-30 BCE.

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Fig. 6. A Portrait of Cleopatra and Her Young Son Caesarion.

Fig. 6. A Portrait of Cleopatra and Her Young Son Caesarion.

Fig. 7. RR39 A Roman Imperatorial Silver Denarius of Julius Caesar, a Fine

Likeness.

Fig. 8. Tetradrachm (Coin) Portraying Cleopatra and Mark Antony

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Fig. 9. Cleopatra VII and Mark Antony. Tetradrachm

Fig. 10. Denarii with Marcus Antonius & Cleopatra VII

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Fig. 11. Colossal Statues of Arsino II

Fig. 12. Black Basalt Statue of

Cleopatra VII.

Fig. 13. Cleopatra VII Thea Neotera, 50 - 31 BC

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Fig. 14. The Mendes Stela

Fig. 15. Queen Cleopatra Making an

Offering to the Goddess Isis

Fig. 16. Left. The Gate of Ptolemy II Philadelphos at Philae. Right. The crown of
Arsino II. (Arsino II is the first person to the right on the left fig.)

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Fig. 17. The Temple of Hathor at Dendera

Fig. 18. Fragment of an Egyptian-styled Dyad Showing Cleopatra VII as Isis, from
Alexandria.

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Bibliography
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originals." British Museum Studies in Ancient Egypt and Sudan 2 (2002).
Ashton, Sally-Ann. Cleopatra and Egypt. Malden, MA: Blackwell Pub., 2008. Print.
Ashton, Sally-Ann. Ptolemaic royal sculpture from Egypt: The interaction between
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Ashton, Sally-Ann. The Last Queens of Egypt: Cleopatra's Royal House. Routledge,
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Ashton, Sally-Ann. The Last Queens of Egypt. Harlow: Pearson/Longman, 2003.
Print.
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Ptolemaic Dynasty. N.p.: Argonaut, 1927. 360-83. E. R. Bevan: The House of Ptolemy
Chap. XIII. Methuen Publishing. Web. 18 Mar. 2015.
<http://penelope.uchicago.edu/Thayer/E/Gazetteer/Places/Africa/Egypt/_Texts/BEVH
OP/13*.html>.
Bianchi, Robert S., et al. "Cleopatra's Egypte. Age of the Ptolemies." Library of
Congress, 1988.
Muszynski, Michel. "Janssen (Jac. J.), Commodity Prices from the Ramessid Period.
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de philologie et d'histoire 55.1 (1977): 200-201.
Ulmer, Rivka. Egyptian cultural icons in Midrash. Vol. 52. Walter De Gruyter, 2009.
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Image Citations
Fig. 1. Gold Octadrachm of Ptolemy II. Digital image. The British Museum, n.d.
Web. 15 Mar. 2015.
<http://www.britishmuseum.org/explore/highlights/highlight_objects/cm/g/gold_octa
drachm_of_ptolemy.aspx>.
Fig. 2. Decadrechm of Arsinoe II. Posthumous issue of Alexandria under Ptolemy II,
ca. 253-246 BC. Veiled head of the deified Arsinoe right, wearing stephane and horn
of Ammon, lotus-tipped scepter in background, it's tip visible abover head, in left
field / APINOH IAEOY, double cornucopiae, grape bunches hanging at
sides, bound with fillet. Svoronos 959. Troxell, Museum Notes 28 (1983), p. 35, 55g.
Light graffito N in reverse field. NGC Choice XF? 5/5 - 4/5. Digital image. Ancients:
PTOLEMAIC EGYPT. Arsinoe II Philadelphus (277-270 BC). AR Decadrachm
(32mm, 35.59 Gm, 12h). Heritage Auctions, n.d. Web. 15 Mar. 2015.
<http://coins.ha.com/itm/ancients/greek/ancients-ptolemaic-egypt-arsinoe-iiphiladelphus-277-270-bc-ar-decadrachm-32mm-3559-gm-12h-/a/3033-23050.s>.
Fig.3. Octodrachm (Coin) Portraying Queen ArsinoII. Ptolemaic Period, (after 270
B.C.), issued by King Ptolemy II or III, Gold Diam. 2.9 cm; 27.76 g Gift of Martin A.
Ryerson 1922.4934. Digital image. Art Institute of Chicagp, n.d. Web. 15 Mar. 2015.
Fig. 4. Cleopatra VII AR Tetradrachm, Ascalon Mint. Digital image. Cleopatra VII
Tetradrachm Ascalon Mint. The CoinReplicas, n.d. Web. 15 Mar. 2015.
Fig. 5. Cleopatras Early Coinages, Alexandria, 51-30 BCE. Digital image. Hunterian
Museum, n.d. Web. 15 Mar. 2015.
Fig. 6. A Portrait of Cleopatra and Her Young Son Caesarion. Digital image. Bronze
Coin of Cleopatra VII. The British Museum, n.d. Web. 15 Mar. 2015.
<http://www.britishmuseum.org/explore/highlights/highlight_objects/cm/b/bronze_co
in_of_cleopatra.aspx>.
Fig. 7. RR39 A Roman Imperatorial Silver Denarius of Julius Caesar, a Fine
Likeness. Digital image. Ancient Art, n.d. Web. 15 Mar. 2015.
Fig. 8. Tetradrachm (Coin) Portraying Cleopatra and Mark Antony, about 36 B.C.
Silver Diam. 2.6 cm (1 1/16 in.), 15.22 g Katherine K. Adler Memorial Fund,
2008.173. Digital image. Art Institute of Chicago, n.d. Web. 15 Mar. 2015.
<http://www.artic.edu/aic/collections/artwork/194522>.
Fig. 9. Cleopatra VII and Mark Antony. Tetradrachm, (12h). Syria or Phoenicia, c. 36
BC. Obv: BACIICCA KEOAT[PA EA NEWTEPA] Diademed and draped
bust of Cleopatra right. Rx: ANTWNIOC AYTOKPATWP TPITON TPIWN

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AN[PWN] Bare head of Antony right. RPC 4094 (43 spec., 21 obv. dies). Prieur 27
(53 spec.). Toned VF. Digital image. CoinArchives.com, n.d. Web. 15 Mar. 2015.
<http://www.coinarchives.com/a/results.php?results=100&search=Cleopatra>.
Fig. 10. Denarii with Marcus Antonius & Cleopatra VII (Cleopatra died 30 BC).
Digital image. Romancoins, n.d. Web. 15 Mar. 2015.
<http://www.romancoins.info/cleopatra-m-antonius.jpg>.
Fig. 11. Colossal Statues of Ptolemy Philadelphos. Digital image. Vatican Museum,
n.d. Web. 15 Mar. 2015. <http://mv.vatican.va/3_EN/pages/xSchede/MEZs/MEZs_Sala05_09_025.html>.
Fig. 12. Shuklin, George. Black Basalt Statue of Cleopatra VII. Digital image. Black
Basalt Statue of Cleopatra VII. State Hermitage Museum, St. Petersburg, Russia, n.d.
Web. 15 Mar. 2015.
Fig. 13. Cleopatra VII Thea Neotera, 50 - 31 BC. EXCELLENT bronze 80-drachmae
diobol. Minted at Alexandria, Egypt. Her draped bust rt, hair in bun / Eagle standing
left on thunder-bolt, , double cornucopia and PI in field. Chunky 26 mm, 16.34 g. Ref:
Svoronos 1871; SNG Copenhagen 41921. Digital image. Ancient Resource, n.d.
Web. 15 Mar. 2015.
<http://www.ancientresource.com/images/greek/greek_coins/cleopatra/cleopatrace2001.jpg>.
Fig. 14. The Mendes Stela. N.d. Cairo CG 22181. Cleopatra's Egypt: Age of
Ptolemies. Comp. Robert S. Bianchi. N.p.: Library of Congress, 1988. 45. Print.
Fig. 15. Queen Cleopatra Making an Offering to the Goddess Isis. Department of
Egyptian Antiquities: The final Pharaonic dynasties and the Ptolemaic period (circa
1069 - 30 BC). Digital image. Louvre, n.d. Web. 15 Mar. 2015.
<http://www.louvre.fr/en/oeuvre-notices/queen-cleopatra-making-offering-goddessisis>.
Fig. 16. The Gate of Ptolemy II Philadelphos at Philae. N.d. Cleopatra's Egypt: Age
of Ptolemies. Comp. Robert S. Bianchi. N.p.: Library of Congress, 1988. 47-48. Print.
Fig. 17. The Temple of Hathor at Dendera. Reliefs of Cleopatra VII and her son by
Julius Caesar, Caesarion at the Dendera Temple - Egypt. Digital image.
Bkbphotography, n.d. Web. 18 Mar. 2015.
<http://www.bkbphotography.co.uk/arcihive.html>.
Fig. 18. Fragment of an Egyptian-styled Dyad Showing Cleopatra VII as Isis, from
Alexandria. Digital image. Buste De Reine Reprsente Dans L'attitude D'Isis. Muse

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Royal De Mariemont, 1990. Web. 18 Mar. 2015.

<http://www.bubastis.be/art/musee/mariemont/131.html>.