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One replica (1.75 inches tall x 0.35 inches round) cylinder seal and roll-out impression tile (1.25 x 1.75 inches) in the style resembling Phoenician or Mesopotamian cylinder seals of ancient times. A cylinder seal is a small round cylinder, engraved with written characters or figurative scenes or both, used in ancient times to roll an impression onto a two-dimensional surface, generally wet clay. The images depicted on cylinder seals presented the ideas of the society in pictographic and text form. The main scene on this seal is a presentation scene, with two people approaching the enthroned king. The lower scene has sun and symbols.

In the Hellenistic empires of Alexander the Great and his successors in Greece, Egypt and the Near East, new forms of court culture and political ideology developed during the last three centuries BCE. Appropriated by Parthian kings and Roman emperors alike, the culture of these Macedonian courts eventually influenced the evolution of royal ideology and court culture in both western Europe and the Islamic East. In this first all-embracing study of the Hellenistic royal court the author endeavours to explain, among other things, the success and long life of Hellenistic royal culture. This study has a broad set-up. It discusses the social, cultural and formal aspects of court society, palace architecture, royal patronage of the arts and sciences, and monarchic representation. The focus is on the three principal Macedonian dynasties: the Antigonids (Macedonia and Greece), Ptolemies (Egypt and the eastern Mediterranean) and Seleukids (Asia Minor, the Near East and Iran)., In Chapter 1 (titled 'Court, kingship and ideology') the methodological en theoretical framework is set out, using recent literature about court culture, state formation and political representation in varying cultures and periods. Hellenistic kingship is defined by the centrality of war and conquest in both ideology and practice. Chapter 2 ('Palaces') discusses the architecture and decoration of royal residences, accentuating the ideological implications, particularly regarding the connection of (royal) palace and (autonomous) city. Chapter 3 ('Court society') discusses the social, formal and political aspects of the court: the courtiers (the so-called 'friends of the king'), the royal family, giving i.a. new interpretations of the position of the queen and the crown prince, as well as the dynamics of faction and succession strife. In Chapter 4 ('Cultural and scientific patronage') a new explanation is given for the remarkable fact that the artistic and scientific life, notably, but not exclusively

1 and 2 Chronicles is a book that solicits many questions and on which neither research nor debate is complete. The reason for this is the discrepancies between the book compared to other books with similar content. The purpose of this dissertation is to: - -- identify the differences between Chronicles and source writings; -- determine which selections were made from the source material, what has been nuanced, omitted, added and emphasized; -- study these selections contextually and determine what its function or purpose would have been; -- determine the Chronicler's ideology and against this background determine whether the text functioned as discourse of power. The book 1 and 2 Chronicles forms the study field of this dissertation. This book is mainly a narrative that pretends to be a narration of history and covers the period from Adam until after the Babylonian exile. The temple and cult in Jerusalem form the focal point of this narrative. A comparison of the book 1 and 2 Chronicles with the source documents the author(s) used (namely Genesis, Joshua, 1 and 2 Samuel and 1 and 2 Kings) clearly shows that the Chronicler worked extremely selectively when using the source documents and that he retells the history of Israel and Juda through omissions and additions with his own particular emphasis. The narrative offers a negative judgment of the Northern Kingdom (Israel) and all the tribes that lived in that area. On the other hand the Southern Kingdom and the tribes Juda, Levi and Benjamin are described extensively and are judged positively. David is presented as the ideal king. Bar one, all his wayward deeds that are comprehensively reported in the source documents are concealed. The purpose is evidently to create an extremely positive image of him. He is inter alia depicted as the founder of the cult in Jerusalem. In this manner the cult is also legitimized and given the stamp as the only true place of worship of the living God. To have a close connection with the cult in Jerusalem or not thus becomes the criterion to judge all kings after David. The study clearly reveals that 1 and 2 Chronicles functioned as a discourse of power that was aimed at promoting the interests of the post-exilic temple personnel in Jerusalem and legitimizing their control over the cult. As a discourse of power it sets boundaries and excludes different groups that were traditionally part of the people of YHWH. The destruction of the temple in 70 AD and the ending of the cult also meant the end of the purpose of this text as a discourse of power and created the possibility that it could become part of the collection of sacred writings known as the Old Testament.

The Rattanakosin Era of Thai history lasted from 1782 to 1932. Seven Kings ruled during this period. The first king transfered his administrative headquarters to a village which soon became the city of Bangkok. The new capital was located on the island of Rattanakosin. Rama I's successors completed the consolidation of the Siamese kingdom, revived the arts and culture of Ayutthaya, and re-established relations with the West. Thanks to the diplomatic skills of Rama IV and V, colonization of Thailand was avoided, while all the countries surrounding it became colonized by either France or Great-Britain. Rama VI was Oxford-educated and thoroughly Anglicized. His western-inspired reforms considerably affected the structure of modern Thai society. Rama VII was personally concerned with improving the welfare of his subjects and was aware of the rising demand for greater participation in government by a small foreign-educated faction. A coup d'état in 1932 ended the absolute rule of the king and ended the Rattanakosin Era. Thailand's silk and cotton textiles evolved from ancient handicrafts and are regarded as an important cultural heritage. They have existed since the 13th century. Weaving was traditionally done by hand with simple local tools. During the 1920s, loom-type weaving machines were introduced from China. It takes 6-7 months before cotton balls can be harvested from plants. They are dried in the sun and then processed. After removal of their seeds, the balls are made soft with a bow-like tool. They are then rolled into a soft cotton and spun into yarn. Before the yarn is dyed, it is soaked in rice gruel, then smashed with a club to mix the dye thoroughly with the gruel. Lastly, the yarn is dried in the sun, which gives it durability. Dyeing in the past was made by extracting color from natural, locally available plant materials (e.g., lac, indigo, wa fruit, hu-kwang leaves). Currently, synthetic dyes are widely used because they are cheaper and easier to use. Before it is woven, the yarn is processed using equipment called kwuak, which further strengthens it. The local weaving machines consist of a loom, brush, and shuttle.

Photographs of Mr. Carnegie's badge and both sides of a medal for the 14th Inter-parliamentary Union Conference held in London in 1906. The badge has 1906 in the middle and includes the inscription: "Inter-parliamentary Conference, London". The front side of the medal has a portrait of King Edward VII, King of Great Britain and includes the inscription: "King Edward VII, the peacemaker". The reverse side of the medal features the draped figure of Victory holding a wreath and the inscription: "XIV Conference Inter-parliamentary Union Palace of Westminster 1906."

Photographs of the first and second page of a letter and the front and reverse view of an envelope that was sent to Andrew Carnegie from Alfonso XIII, King of Spain. In the letter the King thanks Andrew Carnegie for the reproduction of the Diplodocus carnegii that he donated. The reproduction was to be placed in the natural history museum in Spain. Includes signature and seal.

Photograph of a an Amharic-language letter and envelope from Menelik II, Emperor of Ethiopia (along with an English translation of the letter) thanking Andrew Carnegie for his "gift to the African Americans of the United States assisting and aiding them to gain a higher sphere of civilization, knowledge, virtue and morality and educating them on a higher plane". Includes seal.

Photograph of a German language letter sent to Andrew Carnegie from Wilhelm, German Emperor, King of Prussia presenting to him a bronze medallion for his contribution to the German Carnegie Hero Fund. Includes signature.

Photograph of an English translation of a German language letter sent to Andrew Carnegie from Wilhelm, German Emperor, King of Prussia. In the letter Wilhelm thanks Andrew Carnegie for his signing of the statutes of the German Carnegie Hero Fund. He also asks him to "accept the accompanying medallion portrait of myself."

Photograph of a German language letter sent to Andrew Carnegie from Franz Josef, Emperor of Austria. In the letter Franz Josef thanks Andrew Carnegie for the replica of the skeleton of the Diplodocus carnegii that he donated to the Court Museum of Natural History in Austria. Includes signature.

Photograph of an English translation of a German language letter sent to Andrew Carnegie from Franz Josef, Emperor of Austria. In the letter Franz Josef thanks Andrew Carnegie for the replica of the skeleton of the Diplodocus carnegii that he donated to the Court Museum of Natural History in Austria.

Photographs of the 1st and 2nd page of a letter and the front and reverse view of the letter's envelope sent to Andrew Carnegie from Edward VII, King of Great Brittan, recognizing the generosity of his "public objects which you have presented to this country". Includes signature.

King of Saudi Arabia, Fahd bin Abdulaziz Al Saud looks worried, looking behind him while riding a concerned camel representing "The Arab World."

Card deck contains forty-eight (48) cards. The cards depict men, women, a series of locations and attractions in Germany including the Wartburg Castle, Leipzig Court Building, Harz's Brocken Hotel, Niederwald Monument, Kyffhauser Monument, Volkerschlacht National Monument in Leipzig, and the Imperial Place of Goslar. There is a card box that holds the cards. On the box it says "Doppelkopf-Spielkarten Nr. 620" (Double headed playing cards Number 620), "Vereinigte Altenburger und Stralsunder Speilkarten-Fabriken AG., Altenburg/Thur" (United Altenburger and Stralsunder Playing Card Factory), "Doppelkopf-Spielkarte - 2 x 24 Blatt" (Double headed playing cards 2 x 24 Sheet). At the very bottom of the box it says "L/0982" and "180 II sp 929."

Card deck has thirty-seven (37) cards. They are a mixture of King, Queen, Jack, and suited cards of hearts, clubs, spades, and diamonds. The suited cards do not have numbers in the corner. One of the cards contains manufacturer information and says "Excelsior" and "A. Doughterty Manufacturer New York."

Card deck has nineteen (19) cards. There is one King and one Queen card. The rest of the cards just have hearts, clubs, spades, or diamond suits and have no numbers on them. The backs of the cards are green and some have remnants of a floral pattern.

The portrait show Wilhelm, Crown Prince of Germany with his wife and their seven children. They had five boys and two girls. Two of his sons are also dressed in a formal military attire while holding swords, the other two boys are not. There are also two little girls, one of them holds a small horn.

The print shows three European leaders after the signing of the Treaty of Versailles.

The image shows the King of Denmark on a horse with a girl as soldiers and civilians look on.

Condition: Marked foxing and staining on border.; Also available in an electronic version via the Internet at: http://nla.gov.au/nla.pic-vn3117701.