Normal practice when handling ancient artifacts is to move carefully and minimize any sudden movements. Shaking the object is definitely not encouraged. But that's exactly what wea group of museum curators and conservatorsdid when this exquisite Greek black-glazed kantharos (wine cup) was temporarily removed from display during the reinstallation of the Getty Museum's antiquities collection at the Getty Villa. One of just a handful of "rattling cups" that survive from the fifth and fourth centuries B.C., we wanted to learn more about how it was made.(1) Although we were eager to find out what was below the surface of the cup, we started by examining its exterior. The kantharos's distinctive shape, with profiled lip, tall foot, and elegant, upward-sweeping handles, is characteristic of black-glazed pottery made in the second half of the fourth century B.C., and replicates the form of luxury vessels in metal. Although the cup is currently catalogued as South Italian, the shapeand its striking decorationare also typical of Athenian manufacture, and it may in fact have been produced there.(2) During the fourth century B.C., Athenian pottery was both imported into southern Italy and imitated by local craftsmen. The best South Italian versions were meant to be difficult to distinguish from Athenian examples, and we are continuing to investigate where ours may have been made. A Greek inscription applied in gilt around the rim reads: ("KASTORPOLYDEUIKES"). Kastor and Polydeukes were twin sons of Zeusknown together as the Dioskouroiand were worshipped as protectors of sailors, horsemen, and chariot racing.(3) The inscription indicates that the kantharos was dedicated to them, perhaps as thanks foror in hope ofsafe passage at sea or a successful race. The gold decoration supports this idea: because each brother split his time between Mt. Olympus and Hades, they were often represented by stars, depicted here beneath the cup's rim. Further, the wreath, garlands, and bucrania (skulls of... Question: What is the name of the lead Curator? Options: - Susan - not enough information - Mike - Aaron === The correct answer is
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Jon's back ached. Frost had come early this year and the ground broke like stone. Jon had spent eight seasons breaking this ground to plant spring's crops and every year it got harder. Sweat beaded on his brow and he felt his cotton shirt stick to his skin under his coat. Jon took off his soft-brimmed hat and wiped his forehead. He examined the hat as he let his breath return. The hat had kept the burning sun and beating rain off his head for as long as Jon owned the farm. He wore it every day. It had been a gift given to him on the day he married Alasandra but he could not remember who gave it to him. Jon put it back on his head and pushed the tiller deep into the stubborn earth. Daven ran over the hill and down the cart path leading to their small cobblestone house. The boy had only left a short while ago and he held no sack with the bread and cheese his mother had told him to buy. Jon furrowed his brow. The boy continued to run and soon the wind carried his cry to his father's ears. "Papa! A carriage is coming! Two horses!" Jon's furrowed brow remained. Surely the boy meant a cart from a neighboring farm. No carriage made it out this far. "It's from the city! A soldier drives it!" Jon felt ice water flow over him. He turned to the house. "Sandra! Get the musket out of the pantry!" Jon saw his wife's face appear at one foggy window. Jon gestured wildly at her. "Get it!" They were too late. As Daven reached Jon, the black carriage already approached. A single figure sat on the bench, guiding the two brown horses down Jon's path. Question: What city is Daven talking about? Options: - Milton - New York City - Boston - not enough information === The correct answer is
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(Q).
Let's rewind to January 2013 for a moment. It's a sunny and warm day in Los Angelesa bit of a weather shock to me after 11 years of Seattle's cold and rain. I've been officially on the job in the web department for all of 12 hours. I'm sitting in a conference room at a big wooden table, surrounded by my new coworkers and team members in the Getty's web group. A big monitor is displaying the prototype of the newly designed and almost-built Getty Iris. We're discussing The Iris logo you see at the top of this page, its multiple iterations, and, quite frankly, the pain involved in trying to get it to look right. Wait-wait-wait, let's pause for a moment. My name is Will Lanni. I'm a Web production specialist at the Getty, which is a complex way of saying I'm a developer and designer, which is a nice way of saying that I'm basically a "web monkey." Before I started at the Getty, I worked as a partner in a small web design and development firm for several years. I had some experience working for the GettyI built the Pacific Standard Time at the Getty site, the Pacific Standard Time Festival site, as well as the interactive Getty Impact map. And, at the time of my hiring, I was not only working on the new design and build of The Iris, due to go live in only a month, but also the soon-to-be-launched website for Pacific Standard Time Presents: Modern Architecture in L.A. So I wasn't exactly new to projects at the Getty, even though I was a brand-spanking-new full-time employee. OK. Now that you know who I am, let's get back to that moment. The Iris logo, and the hair-pulling it was causing for all of uswhich is a pretty good representation of the steps that Web projects go through as we move from idea, to execution, to setback, to solution. Question: What was the group working on? Options: - not enough information - An emblem layout for a website. - Designing a building - Developing a new project. === The correct answer is
(A).
An emblem layout for a website.