两个馆一张票。下面的照片在对面的馆里拍的。

Gorgone

In Greek mythology, a Gorgon (/ˈɡɔːrɡən/; plural: Gorgons, Ancient Greek: Γοργών/Γοργώ Gorgon/Gorgo) is a mythical creature portrayed in ancient Greek literature. While descriptions of Gorgons vary across Greek literature and occur in the earliest examples of Greek literature, the term commonly refers to any of three sisters who had hair made of living, venomous snakes, as well as a horrifying visage that turned those who beheld her to stone. Traditionally, while two of the Gorgons were immortal, Stheno and Euryale, their sister Medusa was not and she was slain by the demigod and hero Perseus.

The ancient Cycladic culture flourished in the islands of the Aegean Sea from c. 3300 to 1100 BCE.[2] Along with the Minoan civilization and Mycenaean Greece, the Cycladic people are counted among the three major Aegean cultures. Cycladic art therefore comprises one of the three main branches of Aegean art.

http://www.bradshawfoundation.com/sculpture/cycladic.php

Sappho's most famous poetess of antiquity The two greatest poets of the Greek early days make music together here. The famous Greek poetess Sappho from Mytilene on Lesbos is turning to the other known poet of the island, Alkaios. He plucks at his barbitone and sings. Small circles in front of his mouth suggest the sounds. She lowered her string instrument. Both are inscribed on the vase. Wine cube with spout of the Brygos painter, clay, around 470 BC. Antikensammlungen Munchen 1 OK 4.7

Demonic vessel Head vessel with the representation of the Etruscan death donkey Charun. In the profile view, the large, crooked nose and bushy eyebrows are particularly recognizable. Around 400 BC

香炉

Playful elegance These thymiateria are pure luxury items Bronze, 5.-3. Century BC Chr.

A thymiaterion (from Ancient Greek: θυμιατήριον from θυμιάειν thymiaein "to smoke"; plural thymiateria) is a type of censer or incense burner, used in the Mediterranean region since antiquity for spiritual and religious purposes and especially in religious ceremonies. 该术语不仅用于古希腊的香炉，从该术语来源，也用于描述古代世界其他民族的香炉，如腓尼基人和伊特鲁里亚人

Mummy Portrait

The custom of mummifying the bodies of the dead in ancient Egypt looked back on a tradition that reached far back into the past. The dead were often preserved in a shell made of papier mâché and their faces covered with a mummy mask. In Roman times, the mask was replaced by a wooden tablet showing a portrait of the deceased person, which was wrapped into the mummy cover .

Many mummy portraits that originated in the period from the 1st to the 3rd century AD are characterised by intensive colours and subtle shading and are vibrant and true to life. Sometimes the portrait looks like a real-life photograph of the depicted person. This is due in no small part to the brilliance of the wax pigments that are applied using an "encaustic" technique. The artist heated them before applying them to the picture surface.

In the dry Egyptian climate the painted wooden tablets with the mummy portraits often remained in very good condition. This is also the case with the example in the Munich Collections of Antiques, which was found in 1892 during excavations at Hawara in the Faiyum Oasis. It is one of the most beautiful and best-quality antique mummy portraits that exist. It originates from around 140 AD and depicts a young upper-class man of imperial Egypt. His undergarment, or tunic, has purple stripes, as worn by members of the Roman senatorial aristocracy as an indication of their rank.

If you look into the eyes of the young man in this portrait, you can understand why the first person to discover Egyptian mummy portraits, the Italian Pietro della Valle, spoke of them in a letter in the year 1615 as the "most delicate sight in the world".

在古埃及，将死者尸体木乃伊化的习俗回顾了一种可以追溯到过去的传统。死者经常被保存在由纸塑制成的外壳中，并且他们的脸上覆盖着一具木乃伊面具。在罗马时代，面具被一块木制所取代，上面显示了死者的肖像，并将其包裹在木乃伊的封面中。

许多木乃伊画像起源于公元1世纪至3世纪，其特点是色彩浓烈，阴影微妙，充满活力，栩栩如生。有时，肖像看起来像是描绘人物的真实照片。这在很大程度上归功于使用“蜡染”技术施加的蜡颜料的亮度。艺术家在将它们应用到图像表面之前将它们加热。

在干燥的埃及气候下，带有木乃伊肖像的彩绘木片通常保持良好状态。慕尼黑古董收藏馆的例子就是这种情况，该收藏于1892年在Faiyum Oasis的Hawara发掘时发现。它是存在的最美丽和最优质的古董木乃伊肖像之一。它起源于公元140年左右，描绘了一位埃及帝国的年轻上流社会。他的内衣或长袍上有紫色条纹，正如罗马参议院贵族成员所穿的那样，表明他们的等级。

如果你看看这幅肖像画中的年轻人的眼睛，你就可以理解为什么第一个发现埃及木乃伊肖像的人，意大利人Pietro della Valle，在1615年的一封信中称他们为“最精致的景象”世界”。

encaustic painting   encaustic这个词源自希腊语enkaustikos

热蜡彩绘，涉及使用加热的蜂蜡，其中添加有色颜料。然后将液体或糊状物施加到通常制备的表面木材上，尽管经常使用帆布和其他材料。最简单的混合物可以通过向蜂蜡中添加颜料制成，但也可以使用其他几种配方 - 一些含有其他类型的蜡，damar树脂，亚麻籽油或其他成分。可以使用纯的粉末颜料，但是一些混合物使用油性涂料或其他形式的颜料。[1]

可以使用金属工具和特殊刷子在涂料冷却之前对其进行成型，或者可以使用加热的金属工具在蜡冷却到表面上之后对其进行操作。如今，诸如加热灯，热枪和其他施加热量的方法等工具使艺术家能够延长他们使用材料所需的时间。因为蜡被用作颜料粘合剂，所以可以雕刻和涂漆。其他材料可以使用所述混合介质将其包裹或拼合到表面中或分层，以将它们粘附到表面上。

大多数保存的木乃伊肖像画在板或面板上，由不同的进口硬木制成，包括橡木，石灰，梧桐，雪松，柏树，无花果和柑橘。[9]将木材切成薄的矩形面板并使其光滑。完成的面板被设置成包裹身体的包裹层，并被布带包围，产生窗口状开口的效果，通过该开口可以看到死者的面部。肖像画有时直接画在帆布或木乃伊包装的破布上

https://en.wikipedia.org/wiki/Fayum_mummy_portraits

Bull and Ladle The bull relief does not belong to this crater, but originally adorned the neck of a wine mixing pot. They were often richly figuratively decorated. With long-stemmed trowels, the cupbearer drew the wine from the cauldron in the 4th century BC Ch Grechischer Bull Ende6 h Chr Chr Ladle, 5

Voluntary crater Sparta was a famous manufacturing center of large bronze vessels in the archaic period. This form of wine mixer with rolled up handles was developed there. At the handle of the neck, the evil warding off the bust of the gorgon on snake legs. Laconic, around 520 BC

Prachtige antique furniture camped the participants of a symposium make-up drinking on Klinen (dining sofas). The furniture was almost completely made of wood and therefore hardly preserved. From Hellenism and the early imperial period, above all, numerous fittings of bed linens (fulcra) have been preserved. The Fulcrumbekrönung in the form of a war elephant and the bust of the Trojan Prince Paris as a medallion fitting did not belong to the same furniture. But the vivid modeling and silver inlays both prove to be about the same time. Bed fitting late 1st cent. Chr., Loeb

这段翻译得好怪，不记得对应图片是否对，就这样先记着吧。

Gold wreath by Armento This gold wreath with its bewildering variety of flowers, leaves, animals and figures is one of the most beautiful and magnificent wreaths of the ancient world. He is crowned by a Nike. It stands on a base with the founder's inscription: 'Kreithonios gave the gold for the wreath'. Death's wreath, gold, glass, end of 4th century BC, from Armento-Southern Italy

The technique of gold working The production of gold jewelery Gold is easy to alloy and does not have a very high melting point (1063 ° C). Due to its low hardness, it has been possible to process it mechanically in the Mediterranean since the 5th millennium BC. Antique gold jewelry was mostly made of gold sheet and gold wire. Rarely, gold was poured into molds. Gold sheet could be driven over a raised mold or pressed into a recessed form. The bustle is a very old technique that has been increased to great precision. Gold wire was filmed or laid to the smallest ornaments (filigree). Through a complicated procedure, the ancient goldsmiths succeeded in producing tiny spheres and soldering them to gold sheet (granulation). In the so-called dust granulation, the granules had a diameter of just 0.07 millimeters At all times, gold jewelry was engraved or chiseled. The surface of the gold was decorated with a burin. Often, the technique of punching was used: With the punch, which is comparable to a stamp, patterns could be hammered into the soft metal. These design elements could be repeated arbitrarily.

various hallmarks and dies, bronze, 6.-1. Century BC Sheathing for gold sheets, bronze, 4th century BC Bronze cast for bangles (with modern spout), Roman, 1st-2nd cent. Century AD, gift Gorny & Mosch

Embossing mold and driven sheets With the help of models such as this bronze stamping die, which shows the gods Mercur, Minerva, Jupiter and Juno, gold, silver and bronze sheets could be decorated with reliefs. Driven metal sheets were used by the Greeks, Etruscans and Romans with preference as ornamental fittings. Model for embossing precious metal, bronze, Roman, 2nd century AD. Bronze sheet, Etruscan, around 500 BC. Silverplate, Roman, 2nd century AD

Bronze and lead weights Officially checked weights for market and trade purposes could be used in Greece with embossed symbols and official coat of arms "- gods heads, animals or mythical creatures and letter abbreviations such as DE or DEMO for DEMOS (municipality) or abbreviations. For city names, as in one of our examples AMBP for the city of Ambracia, inscriptions are often made on the weights of bronze and lead, Greek, 6th-2nd c.

 Ambracia Ambracia (/æmˈbreɪʃə/; Greek: Ἀμβρακία, occasionally Ἀμπρακία, Ampracia), was a city of ancient Greece on the site of modern Arta. It was captured by the Corinthians in the 625 BC and was situated about 11 km (7 mi) from the Ambracian Gulf, on a bend of the navigable river Arachthos (or Aratthus), in the midst of a fertile wooded plain.[1]

Splendor Diadem of the Black Sea A Heracles knot forms the central motif of this magnificent diadem. Above it rises the goddess of victory, Nike, flanked by two sea monsters. Two rigid gold bars are attached laterally via hinges. Tassel-shaped pendants close the tiara down. Diadem, gold, garnet, carnelian, sardonyx, 250-150 BC, from Tertsch / Ukraine, Coll. Loeb

黑海的辉煌王冠赫拉克勒斯结形成了这个宏伟王冠的中心主题。 在它上面升起了胜利女神，耐克，两侧有两个海怪。 两个刚性金条通过铰链横向连接。 流苏形吊坠收紧头饰。 公元前250-150的王冠，金，石榴石，红玉髓，红条纹玛瑙，来自Tertsch / Ukraine，Coll。勒布

最后一张是 marienplatz 上的真人现场