5 10 196 https://embta.english.ucsb.edu/files/original/aa45384217d6afcc4f1ec8d8ad98ffad.jpg 3e4075c63675aa5d80877210e768f0d8 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data etching Physical Dimensions The actual physical size of the original image. Height: 24.6 cm Print size, Width: 19.4 cm Print size Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Edmund Kean as Othello Subject The topic of the resource Shakespeare, William, 1564-1616. Othello Kean, Edmund, 1787-1833 Creator An entity primarily responsible for making the resource M & M Skelt (publishers) Source A related resource from which the described resource is derived <a href="http://collections.vam.ac.uk/item/O1136083/h-beard-print-collection-print-m-m-skelt/">The Victoria and Albert Museum</a> Publisher An entity responsible for making the resource available <a href="http://collections.vam.ac.uk/item/O1136083/h-beard-print-collection-print-m-m-skelt/">The Victoria and Albert Museum</a> Date A point or period of time associated with an event in the lifecycle of the resource ca. early 19th century Rights Information about rights held in and over the resource EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this image. If you are interested in reproducing this image, please contact the copyright holder named in the “Source” field above. Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context embta2015-00180 character depiction male stance and gesture https://embta.english.ucsb.edu/files/original/0a89fd9bebe80f6a68179dff229f10cc.jpg 1abd64dd09db38388a78ab30a663d0ee Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data print, ink on paper Physical Dimensions The actual physical size of the original image. Height: 23.9 cm Print size, Width: 19.4 cm Print size Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Edmund Kean as Othello Subject The topic of the resource Shakespeare, William, 1564-1616. Othello Kean, Edmund, 1787-1833 Creator An entity primarily responsible for making the resource Tomkins, born 1757 - died 1823 (maker) West, William (publisher) Source A related resource from which the described resource is derived <a href="http://collections.vam.ac.uk/item/O1139752/h-beard-print-collection-print-tomkins-c/">The Victoria and Albert Museum</a> Publisher An entity responsible for making the resource available <a href="http://collections.vam.ac.uk/item/O1139752/h-beard-print-collection-print-tomkins-c/">The Victoria and Albert Museum</a> Date A point or period of time associated with an event in the lifecycle of the resource 1 December 1818 Rights Information about rights held in and over the resource EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this image. If you are interested in reproducing this image, please contact the copyright holder named in the “Source” field above. Format The file format, physical medium, or dimensions of the resource JPEG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context embta2015-00181 male stance and gesture https://embta.english.ucsb.edu/files/original/0bc3df9ff99043fefd8bd58706458435.jpg c785c31d9e7df7513d306bb7edcff122 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data lithograph Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Edmund Kean as Othello at Drury Lane, 1800. Subject The topic of the resource Shakespeare, William, 1564-1616. Othello Kean, Edmund, 1787-1833 Race in the theater Creator An entity primarily responsible for making the resource Lambert, E. F. (painter) Source A related resource from which the described resource is derived <a href="http://collections.vam.ac.uk/item/O181508/h-beard-print-collection-print-lambert-e-f/" target="_blank">The Victoria and Albert Museum</a> Publisher An entity responsible for making the resource available <a href="http://shakespearestaging.berkeley.edu/index.php?option=com_g2bridge&view=gallery&Itemid=100008&g2_itemId=14863" target="_blank">Shakespeare's Staging</a> Date A point or period of time associated with an event in the lifecycle of the resource 1800? Contributor An entity responsible for making contributions to the resource Dean & Munday (lithographer) Format The file format, physical medium, or dimensions of the resource JPG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context embta2014-00158 Rights Information about rights held in and over the resource EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this image. If you are interested in reproducing this image, please contact the copyright holder named in the “Source” field above. Blackface male stance and gesture https://embta.english.ucsb.edu/files/original/e0b0f477607b62971b43bee41b8bd2a2.jpg bbe5a8a3752613a9ffe434bec7d68166 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Richard III Subject The topic of the resource By William Shakespeare Description An account of the resource A multimedia exploration of educational tools relating to Shakespeare's "Richard III" Creator An entity primarily responsible for making the resource Juliet Way-Henthorne Date A point or period of time associated with an event in the lifecycle of the resource 2017 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Physical Mutilation, Vengeance, and Technological Advancement in Shakespeare’s “Richard III” William Shakespeare’s “Richard III” offers one of literature’s greatest villains with the ingenious, scheming Richard, Duke of Gloucester, whose treachery and plotting leads to the downfall of the House of York in the wake of the War of the Roses. Indeed, it is Richard’s intelligence, skillful manipulation, and playful interaction with the audience that has led this tragedy to endure the test of time, as it continues to influence popular culture even today through multiple adaptations, as well as inspiring characters like the nefarious Francis Underwood (ironically played by Academy Award winning actor Kevin Spacey) in the Netflix hit series, "House of Cards," which demonstrates the lasting power of Shakespeare’s works over mass media. However, beyond Richard’s ability to skillfully manipulate the human pawns in his grand schemes, his motivation stems from his physical deformity, which is depicted in a number of items associated with Shakespeare’s “Richard III,” as well as complementing a collection of multimedia tools that reflect the continuing impact of such a widely referenced work. Beginning with a ceramic sculpture of famed actor David Garrick (1717-1779) as Richard III (dated 1772), this collection provides a carefully crafted representation of the evolution of Richard III as the character relates to each era of his existence. In this sculpture of Garrick as Richard during battle, an excess of color is used, depicting an elaborately dressed Richard who, while skilled in games of the mind, is not skilled in games of war. With flushed cheeks and a limping leg representing the physical deformity that Richard describes as his being “cheated of feature by dissembling nature,” the villain seems hugely out of place on the battlefield (1.1.19) Similarly, in a later piece simply called “Richard III figurine” (which is also owned by the Victoria & Albert Museum and dated 1880), Richard again appears apprehensive, elaborately clothed in a flamboyant costume befitting the court, with a dagger tucked into his belt. Additionally, Richard’s deformity is represented through a limping leg which, when paired with a hunched back, serves as the primary motive for his villainy: “Why, I, in this weak piping time of peace, Have no delight to pass away the time, Unless to see my shadow in the sun And descant on mine own deformity. And therefore, since I cannot prove a lover To entertain these fair well-spoken days, I am determinèd to prove a villain And hate the idle pleasures of these days” (1.1.24-31). In these lines, audiences are able to gain an understanding of the impetus behind Richard’s evil acts; he feels that he has been neglected by nature and, therefore, reasons that he too may behave in unnatural ways, which encapsulates audiences’ fascination with darkness, deformity, and the desire for revenge. A final depiction of Richard’s physical form can be found in The Victoria and Albert Museum’s “Edmund Kean as Richard in Richard III by William Shakespeare,” which, through oil painting, again captures the Duke’s deformity through unusual posture and a bulging back, which is partially obscured by ornate, jeweled cloaks. Through these physical depictions of Richard III, an intense interest in his physical mutation is demonstrated, adding to the magnetism of such a physically and emotionally complex character. Interestingly, this collection offers two sketches that incorporate elements of the Elizabethan stage, depicting the ways in which actors might move about the space to the greatest advantage. Simply titled “Richard III drawing," this first sketch by Henry Fuseli depicts Richard as he sleeps during the eve of the great final battle while the spirits of all who he has wronged hover about him. The set is described as illustrating the “spirits rising by his side in pairs, and passing beyond his feet towards an opening in the centre of the tent” (V&A). So, while this piece depicts both scene and emotion during a pivotal moment in the play, it also portrays the practicality of the Elizabethan set. Contrastingly, the “Morris Kestelman set design for Richard III” appears without characters and illustrates the Old Vic Theatre Company's production of “Richard III” at the New Theatre, London, in September 1944, demonstrating the value of careful stage management even beyond the Elizabethan stage, as the billowing tents create an eerie sense of pre-war anxiety. Further, technological advancements allowed set designers to utilize lighting in order to illustrate restlessness and breathe a sense of life into an otherwise vacant set. Interestingly, Morris Kestelman also drew a costume sketch of iconic theatre actress Vivien Leigh, who played opposite her husband, Sir Laurence Olivier, as Lady Anne for many years. Though Vivien Leigh was an incredibly significant figure both on stage and in film, this sketch is particularly significant because it offers the only publicly available depiction of a female character from “Richard III.” As media has evolved, so too have the ways in which audiences interact with “Richard III,” as well as all of Shakespeare’s plays. However, “Richard III” is, in itself, exceptional because the villain is so terrible -- committing multiple murders with a seemingly sound and cunning mind -- that actors through the ages have continued to prize this role. Beginning with The Old Vic Theatre Company in their first American radio appearance performing “Richard III” (starring Laurence Olivier), various forms of new media rose to enhance the audience’s experience with the play. With a dramatic reading, Olivier delivers an iconic performance that not only highlights the advancements in recording technology, but also proves that seemingly dated yet classic texts like those of William Shakespeare can still be accessed by a wider and perhaps less literarily inclined audience. In other words, forms of new media that carefully treat the works of Shakespeare serve as valuable educational tools, ultimately garnering a wider and more intrigued audience. Indeed, a high quality translation of Shakespeare’s “Richard III” is made freely available through public access via Folger Digital texts, making such tools of education more accessible and allowing readers to examine the play in a different manner; with the aid of a computer, particular words can be searched in order to trace themes, characters, or even to perform close readings with ease. And if a reader is inclined to dig even deeper, the application of digital humanities tools can be used to conduct distant readings through data mining and text analysis, which is only made possible through the simple transfer of PDF files like those offered by Folger Digital texts. With regard to the contemporary significance of the play in popular culture, the role of Richard III remains so iconic that only some of the finest contemporary actors have been given the opportunity to play the villainous lead. The most notable of these actors -- Sir Laurence Olivier, Sir Ian McKellen, and Benedict Cumberbatch -- each offer a unique portrayal of Richard III, ranging from classic to modern interpretations that all preserve the essence of such an unusual villain marked by physical deformity and emotional disturbance, which lead to a twisted desire for vengeance and power. Moreover, with regard to animation, “Shakespeare’s The Animated Tales” provides high quality, condensed versions of Shakespeare’s works that, despite being abridged, cover all major plot points and help to preserve the spirit of the Shakespearean theatre while accessing a younger audience. Specifically, animation allows the darker undertones of the text to visually come to life, presenting the ways in which the application of popular media can enhance the lifespan of canonical works. To conclude, the most exciting aspect of the play’s preservation and even evolution is the fact that through modern technology, students, educators, and fans are able to access key scenes through YouTube and other publicly available media, marking this collection of artifacts relating to “Richard III” as both all-encompassing and a true representation of the ways in which an almost four-hundred-year-old text can be reinvented and given new life and meaning while still treating the original masterpiece with integrity and respect. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Edmund Kean as Richard in Richard III by William Shakespeare Subject The topic of the resource Shakespeare, William 1564-1616. Richard III. Description An account of the resource Painting (oil on canvas) of Richard III Creator An entity primarily responsible for making the resource John James Hall (1776-1853) Rights Information about rights held in and over the resource EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this item. If you are interested in reproducing this item, please contact the copyright holder named in the “Publisher” field above. Relation A related resource Edmund Kean and Richard III painted rather than sculpted in the year 1814. Source A related resource from which the described resource is derived <a href="http://collections.vam.ac.uk/item/O84968/edmund-kean-as-richard-in-painting-halls-john-james/">link to item here </a> Publisher An entity responsible for making the resource available Victoria & Albert Museum Format The file format, physical medium, or dimensions of the resource JPG actor celebrity cloak costume design deformity royalty https://embta.english.ucsb.edu/files/original/a32c1a3083dacf679dc1515889569f6c.jpg 5304f016313d628cf68652e1599f5fff Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Oil on Canvas Physical Dimensions The actual physical size of the original image. 203.8 x 114 cm Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Edward Alleyn Subject The topic of the resource Alleyn, Edward, 1566-1626 Description An account of the resource In this full-length, official portrait from Dulwich College, Alleyn wears a black hat and black gown, with a white ruffled collar. He holds his right hand up to his chest, displaying his signet ring on his right pinkie finger. In his left hand, he holds a pair of gold gloves. Creator An entity primarily responsible for making the resource Unknown Artist Source A related resource from which the described resource is derived <a href="http://www.dulwichpicturegallery.org.uk/explore-the-collection/401-450/edward-alleyn/">Dulwich Picture Gallery</a> Publisher An entity responsible for making the resource available <a href="http://commons.wikimedia.org/wiki/File:Edward_alleyn.jpg" target="_blank">Wikimedia Commons</a> Date A point or period of time associated with an event in the lifecycle of the resource Inscribed 1626 Format The file format, physical medium, or dimensions of the resource JPG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context embta2013-00090 Rights Information about rights held in and over the resource EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this image. If you are interested in reproducing this image, please contact the copyright holder named in the “Source” field above. Performed lead roles in Marlowe's tragedies: Tamburlaine; Faustus; and Barabas (The Jew of Malta) The Fortune Playhouse; 1600 (Co-Founder) The Rose Theater (Location) https://embta.english.ucsb.edu/files/original/e3ea03b35b9485065c868944c4dbea05.jpg 9171c90ea07bc78a67036a97befe1895 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data stipple engraving, possibly after a painting by Peter Lely. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Edward Kynaston Subject The topic of the resource Kynaston, Edward, 1643-1712 Description An account of the resource Half-length oval portrait. For more information, see <a href="http://www.npg.org.uk/collections/search/portraitLarge/mw141137/Edward-Kynaston?LinkID=mp65458&role=sit&rNo=0">NPG</a> Creator An entity primarily responsible for making the resource Cooper, Robert Bransby, 1762-1845 Source A related resource from which the described resource is derived <a href="http://www.npg.org.uk/collections/search/portraitLarge/mw141137/Edward-Kynaston?LinkID=mp65458&role=sit&rNo=0">National Portrait Gallery</a> Publisher An entity responsible for making the resource available <a href="http://www.npg.org.uk/collections/search/portraitLarge/mw141137/Edward-Kynaston?LinkID=mp65458&role=sit&rNo=0">National Portrait Gallery</a> Date A point or period of time associated with an event in the lifecycle of the resource 1818 Contributor An entity responsible for making contributions to the resource Lely, Peter, 1618-1680 Format The file format, physical medium, or dimensions of the resource JPG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context embta2013-00057 Rights Information about rights held in and over the resource EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this image. If you are interested in reproducing this image, please contact the copyright holder named in the “Source” field above. https://embta.english.ucsb.edu/files/original/21acf94a1446fa480477406e7b65a684.jpg 2ec0a0bf99b5013812c5c04e3f0dff05 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. THE COFFEEHOUSE MOB Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Masters, Anthony. The Play of Personality in the Restoration Theatre. Ed. Simon Trussler. Woodbridge: Boydell P, 1992. 34. Print. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Eighteenth-Century Coffee House Subject The topic of the resource English satirical print, 1600-1832 England--Social life and customs--18th century Description An account of the resource Engraving of an early eighteenth-century coffeehouse. Creator An entity primarily responsible for making the resource Unknown Source A related resource from which the described resource is derived Hutton Picture Library Publisher An entity responsible for making the resource available Boydell Press Contributor An entity responsible for making contributions to the resource Masters, Anthony, -1985 Baugh, Christopher [picture editor] Format The file format, physical medium, or dimensions of the resource Still Image Language A language of the resource English Type The nature or genre of the resource JPG Identifier An unambiguous reference to the resource within a given context coffee_house_satire Rights Information about rights held in and over the resource Copyright for this item belongs to the “Source” and/or “Publisher” named above. EMBTA provides this material for free in accordance with our educational mission. We believe this constitutes a “fair use” of copyrighted material as described in Section 107 of the United States Copyright Law (http://www.copyright.gov/title17/92chap1.html#107). If you wish to reproduce this item for publishing or commercial purposes, you must obtain permission from the copyright owner. If you are the copyright owner and feel that your copyright has been violated, please contact embta.ucsb@gmail.com. https://embta.english.ucsb.edu/files/original/8e5935b3ffa8fb269a00a4d0d94ff175.png 66e483091a1d2bdc1530b61e8513b299 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Elizabeth Barry Subject The topic of the resource Barry, Elizabeth, approximately 1658-1713 Description An account of the resource Etching of actress, Elizabeth Barry Creator An entity primarily responsible for making the resource Unknown Source A related resource from which the described resource is derived <a title="Wikipedia" href="http://en.wikipedia.org/wiki/File:Elizabeth_Barry.png" target="_blank">Wikipedia</a> Publisher An entity responsible for making the resource available <a title="Wikipedia" href="http://en.wikipedia.org/wiki/File:Elizabeth_Barry.png" target="_blank">Wikipedia</a> Date A point or period of time associated with an event in the lifecycle of the resource 1675?-1695? Contributor An entity responsible for making contributions to the resource Kneller, Godfrey, Sir, 1646-1723 Format The file format, physical medium, or dimensions of the resource PNG Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context embta2013-00100 Rights Information about rights held in and over the resource EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this image. If you are interested in reproducing this image, please contact the copyright holder named in the “Source” field above. Originated roles of Hellena (Rover) and Marwood (Way of the World) https://embta.english.ucsb.edu/files/original/baabcd4ae97f51ff95cf40947ee23491.jpg 722517ce6da27e95e504549b5311ac75 Document A resource containing textual data. Note that facsimiles or images of texts are still of the genre text. Text Any textual data included in the document. Act IV OROONOKO Scene Mrs. HARLEY in the Character of IMOINDA I fear no danger, life, or death, I will enjoy with you. Secondary Criticism: Obviously, by radically altering the skin color of the heroine and presenting a white Imoinda on the stage instead of the black woman that Behn created, Southerne encouraged the women in his audience to visually identify with a white-skinned, virtuous heroine --Lyndon Dominique, Imoinda’s shade : marriage and the African woman in eighteenth-century British literature, 1759-1808 (Colombus: Ohio UP, 2012), 46. "no tragedy written or performed in the eighteenth century features a black hero in love with a black heroine"--Julie Carlson, "Race and Profit in English Theatre," The Cambridge Companion to British Theatre, 1730-1830, ed. Jane Moody and Daniel O'Quinn (Cambridge: Cambridge UP, 2007), 179. Original Format If the image is of an object, state the type of object, such as painting, sculpture, paper, photo, and additional data Engraving Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Elizabeth Hartley (nee White) as Imoinda in "Oroonoko" Subject The topic of the resource Southerne, Thomas. Oroonoko, a tragedy Hartley, Elizabeth, 1750?-1824 Race in the theater Description An account of the resource Full length portrait of Mrs Hartley in the Character of Imoinda. Armed with a bow in her left hand, and a quiver of arrows on her back, she stands in profile. Her bodice and sleeves contain significant amounts of animal pelt. The bottom of her skirt and her headdress contain feathers. Creator An entity primarily responsible for making the resource Roberts, J. [artist] Source A related resource from which the described resource is derived <a title="University of Illinois Theatrical Print Collection" href="http://imagesearch.library.illinois.edu/cdm4/item_viewer.php?CISOROOT=/actors&CISOPTR=2363&CISOBOX=1&REC=6" target="_blank">University of Illinois Theatrical Print Collection</a> Publisher An entity responsible for making the resource available University of Illinois at Urbana-Champaign. Rare Book and Manuscript Library Date A point or period of time associated with an event in the lifecycle of the resource 1777 Contributor An entity responsible for making contributions to the resource Bell, John Behn, Aphra, 1640-1689. Oroonoko Format The file format, physical medium, or dimensions of the resource JPG Language A language of the resource English Type The nature or genre of the resource Still Image Identifier An unambiguous reference to the resource within a given context embta2014-00168 Rights Information about rights held in and over the resource EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this image. If you are interested in reproducing this image, please contact the copyright holder named in the “Source” field above. bow feather headpiece White Imoinda https://embta.english.ucsb.edu/files/original/cba2beacf37a2795f56d51e3ceaebff7.jpg 11c99ac3f79ace96cb2ab9dabd83f166 Still Image A static visual representation. Examples of still images are: paintings, drawings, graphic designs, plans and maps. Recommended best practice is to assign the type "text" to images of textual materials. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Elizabeth Hartley as Cleopatra Subject The topic of the resource Dryden, John, 1631-1700. All for love. Description An account of the resource Act 5. Cleopatra sits with both of her arms extended asking: "Where shall I find him, where? Oh, turn me to him!" --What scene is this quote from? --How would you the costume? What are the dominant features? Creator An entity primarily responsible for making the resource Joseph Wenman Source A related resource from which the described resource is derived <a title="Victoria and Albert Museum" href="http://collections.vam.ac.uk/item/O1259704/print-j-wenman/" target="_blank">Victoria and Albert Museum</a> Publisher An entity responsible for making the resource available <a title="http://collections.vam.ac.uk/item/O1259704/print-j-wenman/" href="Joseph%20Wenman" target="_blank">Joseph Wenman</a> Date A point or period of time associated with an event in the lifecycle of the resource 1778 Rights Information about rights held in and over the resource EMBTA does not hold the copyright for this item, which is already made freely available online. EMBTA cannot grant reproduction rights for this image. If you are interested in reproducing this image, please contact the copyright holder named in the “Source” field above. Format The file format, physical medium, or dimensions of the resource Still Image Language A language of the resource English Type The nature or genre of the resource JPEG Identifier An unambiguous reference to the resource within a given context embta2015-00194 character depictions feather female stance and gesture panniers