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In ] and ], she was the subject of many works devoted to her, including operas, paintings, poetry, sculptures, and theatrical dramas. She has become a ] of ] since the ] (when she ruled as '''Queen Victoria''' of the ''']''']<nowiki/>as well as in modern times. Cleopatra has appeared in the applied and fine arts, Hollywood films, and brand images for commercial products and still continues to dominate global pop culture until today. In ] and ], she was the subject of many works devoted to her, including operas, paintings, poetry, sculptures, and theatrical dramas. She has become a ] of ] since the ] (when she ruled as '''Queen Victoria''' of the ''']''']<nowiki/>as well as in modern times. Cleopatra has appeared in the applied and fine arts, Hollywood films, and brand images for commercial products and still continues to dominate global pop culture until today.


==Legacy== ==Ancestry==
{{see also|Ethnicity of Cleopatra}}
===Children and successors===
{{multiple image {{multiple image
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| image1 = Cleopatra Selene II bust, Cherchell, Algeria 4.jpg | image1 = Ptolemy I Soter Louvre Ma849.jpg
| width1 = 212 | width1 = 108
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| image2 = Allégorie de la province romaine d'Afrique - Grand Palais, Paris 2014.jpg | image2 = Seleuco I 2.JPG
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| footer = Left: A ] of ], now in the ], Paris{{pb}}Right: A bust of ], a ] of a Greek original, from the ], ], and now in the ]
| footer = Left: A Roman head of either Cleopatra or her daughter ], Queen of ], from the late 1st century BC, located in the ], Algeria{{sfnp|Roller|2003|p=139}}{{sfnp|Ferroukhi|2001a|p=219}}{{sfnp|Kleiner|2005|pp=155–156}}<ref group="note" name="Cherchel bust"/>{{pb}}Right: A likely depiction of Cleopatra Selene II, wearing an elephant skin cap, raised relief image on a ] silver dish from the ], dated to the early 1st century AD{{sfnp|Roller|2003|pp=141–142}}{{sfnp|Walker|2001|pp=312–313}}<ref group="note">{{harvtxt|Walker|2001|p=312}} writes the following about the raised relief on the gilded silver dish: "Conspicuously mounted on the cornucopia is a gilded crescent moon set on a pine cone. Around it are piled pomegranates and bunches of grapes. Engraved on the horn are images of Helios (the sun), in the form of a youth dressed in a short cloak, with the hairstyle of Alexander the Great, the head surrounded by rays{{nbsp}}... The symbols on the cornucopia can indeed be read as references to the Ptolemaic royal house and specifically to Cleopatra Selene, represented in the crescent moon, and to her twin brother, Alexander Helios, whose eventual fate after the conquest of Egypt is unknown. The viper seems to be linked with the pantheress and the intervening symbols of fecundity rather than the suicide of Cleopatra VII. The elephant scalp could refer to Cleopatra Selene's status as ruler, with Juba II, of Mauretania. The visual correspondence with the veiled head from Cherchel encourages this identification, and many of the symbols used on the dish also appear on the coinage of Juba II."</ref>
}} }}


After her suicide, Cleopatra's three surviving children, ], ], and ], were sent to Rome with Octavian's sister ], a former wife of their father, as their guardian.{{sfnp|Roller|2010|p=153}}{{sfnp|Burstein|2004|pp=32, 76–77}} Cleopatra Selene II and Alexander Helios were present in the Roman triumph of Octavian in 29 BC.{{sfnp|Roller|2010|p=153}}{{sfnp|Burstein|2004|p=77}} The fates of Alexander Helios and Ptolemy Philadelphus are unknown after this point.{{sfnp|Roller|2010|p=153}}{{sfnp|Burstein|2004|p=77}} Octavia arranged the betrothal of Cleopatra Selene II to ], son of ], whose North African ] had been turned into a Roman province in 46 BC by Julius Caesar due to Juba I's support of Pompey.{{sfnp|Roller|2010|pp=153–154}}{{sfnp|Burstein|2004|pp=32, 76–77}}{{sfnp|Southern|2009|p=155}}

The emperor Augustus installed Juba II and Cleopatra Selene II, after their wedding in 25 BC, as the new rulers of ], where they transformed the old ] city of ] into their new capital, renamed ] (modern ], Algeria).{{sfnp|Roller|2010|pp=153–154}}{{sfnp|Burstein|2004|p=77}} Cleopatra Selene II imported many important scholars, artists, and advisers from her mother's royal court in Alexandria to serve her in Caesarea, now permeated in Hellenistic Greek culture.{{sfnp|Roller|2010|pp=154–155}} She also named her son ], in honor of their Ptolemaic dynastic heritage.{{sfnp|Roller|2010|p=155}}{{sfnp|Burstein|2004|pp=32, 77}}

Cleopatra Selene II died {{circa|5&nbsp;BC}}, and when Juba II died in 23/24 AD he was succeeded by his son Ptolemy.{{sfnp|Roller|2010|p=155}}{{sfnp|Burstein|2004|pp=xxiii, 32, 77}} However, Ptolemy was eventually executed by the Roman emperor ] in 40 AD, perhaps under the pretense that Ptolemy had unlawfully minted his own royal coinage and utilized ] reserved for the Roman emperor.{{sfnp|Roller|2010|pp=155–156}}{{sfnp|Burstein|2004|pp=xxiii, 32, 77–78}} Ptolemy of Mauretania was the last known monarch of the Ptolemaic dynasty, although Queen ], of the short-lived ] during the ], claimed descent from Cleopatra.{{sfnp|Roller|2010|p=156}}{{sfnp|Burstein|2004|pp=32, 69, 77–78}} A cult dedicated to Cleopatra still existed as late as 373 AD when Petesenufe, an Egyptian scribe of the book of Isis, explained that he "overlaid the figure of Cleopatra with gold."{{sfnp|Roller|2010|p=151}}

===Roman literature and historiography===
{{further|Roman historiography|Greek historiography|Latin literature|Latin poetry}}
]'' (1887), by ]{{sfnp|Anderson|2003|p=36}}]]

Although almost 50 ancient works of ] mention Cleopatra, these often include only terse accounts of the Battle of Actium, her suicide, and Augustan propaganda about her personal deficiencies.{{sfnp|Roller|2010|p=7}} Despite not being a biography of Cleopatra, the '']'' written by Plutarch in the 1st century AD provides the most thorough surviving account of Cleopatra's life.{{sfnp|Roller|2010|pp=7–8}}{{sfnp|Burstein|2004|pp=67, 93}}{{sfnp|Jones|2006|p=32}} Plutarch lived a century after Cleopatra but relied on ]s, such as ], who had access to the Ptolemaic royal palace, Cleopatra's personal physician named Olympos, and Quintus Dellius, a close confidant of Mark Antony and Cleopatra.{{sfnp|Roller|2010|pp=7–8, 44}} Plutarch's work included both the Augustan view of Cleopatra—which became canonical for his period—as well as sources outside of this tradition, such as eyewitness reports.{{sfnp|Roller|2010|pp=7–8}}{{sfnp|Jones|2006|p=32}}

The ] historian ], writing in the 1st century AD, provides valuable information on the life of Cleopatra via her diplomatic relationship with Herod the Great.{{sfnp|Roller|2010|p=8}}{{sfnp|Gurval|2011|pp=57–58}} However, this work relies largely on Herod's memoirs and the biased account of ], the tutor of Cleopatra's children in Alexandria before he moved to Judea to serve as an adviser and chronicler at Herod's court.{{sfnp|Roller|2010|p=8}}{{sfnp|Gurval|2011|pp=57–58}} The ''Roman History'' published by the official and historian Cassius Dio in the early 3rd century AD, while failing to fully comprehend the complexities of the late Hellenistic world, nevertheless provides a continuous history of the era of Cleopatra's reign.{{sfnp|Roller|2010|p=8}}
] of Cleopatra wearing a ] and 'melon' hairstyle similar to coinage portraits, found along the ] near the {{interlanguage link|Tomba di Nerone|it}}, Rome, and now located in the ]{{sfnp|Raia|Sebesta|2017}}{{sfnp|Lippold|1936|pp=169–171}}{{sfnp|Curtius|1933|pp=184 ff. Abb. 3 Taf. 25–27.}}]]

Cleopatra is barely mentioned in {{lang|la|]}}, the memoirs of an unknown staff officer who served under Caesar.{{sfnp|Roller|2010|pp=8–9}}{{sfnp|Burstein|2004|p=93}}{{sfnp|Jones|2006|pp=60–62}}<ref group="note">{{harvtxt|Jones|2006|p=60}} offers speculation that the author of {{lang|la|De Bello Alexandrino}}, written in Latin prose sometime between 46 and 43 BC, was a certain ], a military officer serving under Caesar.</ref> The ], who knew her personally, provide an unflattering portrait of Cleopatra.{{sfnp|Roller|2010|pp=8–9}} The Augustan-period authors ], ], ], and ] perpetuated the negative views of Cleopatra approved by the ruling Roman regime,{{sfnp|Roller|2010|pp=8–9}}{{sfnp|Burstein|2004|p=67}} although Virgil established the idea of Cleopatra as a figure of romance and epic ].{{sfnp|Gurval|2011|pp=66–70}}<ref group="note">{{harvtxt|Burstein|2004|p=30}} writes that Virgil, in his '']'', described the Battle of Actium against Cleopatra "as a clash of civilizations in which Octavian and the Roman gods preserved Italy from conquest by Cleopatra and the barbaric animal-headed gods of Egypt."</ref> Horace also viewed Cleopatra's suicide as a positive choice,{{sfnp|Gurval|2011|pp=65–66}}{{sfnp|Burstein|2004|p=67}} an idea that found acceptance by the ] with ].{{sfnp|Anderson|2003|p=54}}{{sfnp|Burstein|2004|p=68}}

The historians ], ], ], ], and ], while not offering accounts as full as Plutarch, Josephus, or Dio, provided some details of her life that had not survived in other historical records.{{sfnp|Roller|2010|pp=8–9}}<ref group="note">For further information and extracts of Strabo's account of Cleopatra in his '']'' see {{harvtxt|Jones|2006|pp=28–30}}.</ref> Inscriptions on contemporary Ptolemaic coinage and some ] demonstrate Cleopatra's point of view, but this material is very limited in comparison to Roman literary works.{{sfnp|Roller|2010|pp=8–9}}{{sfnp|Chauveau|2000|pp=2–3}}<ref group="note">As explained by {{harvtxt|Chauveau|2000|pp=2–3}}, this source material from Egypt dated to the reign of Cleopatra includes about 50 papyri documents in Ancient Greek, mostly from the city of ], and only a few papyri from ], written in the ] language. Overall this is a much smaller body of surviving native texts than those of any other period of Ptolemaic Egypt.</ref> The fragmentary ''Libyka'' commissioned by Cleopatra's son-in-law Juba II provides a glimpse at a possible body of historiographic material that supported Cleopatra's perspective.{{sfnp|Roller|2010|pp=8–9}}

Cleopatra's gender has perhaps led to her depiction as a minor if not insignificant figure in ancient, medieval, and even modern historiography about ancient Egypt and the ].{{sfnp|Roller|2010|pp=1–2}} For instance, the historian ] asserted that she was of little importance to Caesar and that the propaganda of Octavian magnified her importance to an excessive degree.{{sfnp|Roller|2010|pp=1–2}} Although the common view of Cleopatra was one of a prolific seductress, she had only two known sexual partners, Caesar and Antony, the two most prominent Romans of the time period, who were most likely to ensure the survival of her dynasty.{{sfnp|Roller|2010|p=2}}{{sfnp|Burstein|2004|p=63}} Plutarch described Cleopatra as having had a stronger personality and charming wit than physical beauty.{{sfnp|Roller|2010|p=3}}{{sfnp|Burstein|2004|p=11}}{{sfnp|Anderson|2003|pp=37–38}}<ref group="note">For the description of Cleopatra by Plutarch, who claimed that her beauty was not "completely incomparable" but that she had a "captivating" and "stimulating" personality, see {{harvtxt|Jones|2006|pp=32–33}}.</ref>

===Cultural depictions===
{{further|List of cultural depictions of Cleopatra}}

====Depictions in ancient art====
{{further|Hellenistic art|Art of ancient Egypt|Death of Cleopatra#Depictions in art and literature}}

=====Statues=====
{{further|Roman portraiture|Roman sculpture|Esquiline Venus|Sleeping Ariadne}}
{{multiple image
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| image2 = Venus von Esquilin.jpg
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| footer = Left: An Egyptian statue of either ] or Cleopatra as an ] in black ] from the second half of the 1st century BC,{{sfnp|Ashton|2008|pp=83–85}} located in the ], Saint Petersburg{{pb}}Right: The '']'', a ] or ] statue of ] (]) that may be a depiction of Cleopatra,{{sfnp|Pina Polo|2013|pp=186, 194, footnote 10}} located in the ], Rome
}}

Cleopatra was depicted in various ancient works of art, in the ] as well as ] and ] styles.{{sfnp|Sabino|Gross-Diaz|2016|}} Surviving works include statues, ], ]s, and minted coins,{{sfnp|Sabino|Gross-Diaz|2016|}}{{sfnp|Anderson|2003|p=36}} as well as ancient ],{{sfnp|Roller|2010|p=176}} such as one depicting Cleopatra and Antony in Hellenistic style, now in the ], Berlin.{{sfnp|Raia|Sebesta|2017}} Contemporary images of Cleopatra were produced both in and outside of Ptolemaic Egypt. For instance, there was once a large ] bronze statue of Cleopatra inside the ] in Rome, the first time that a living person had their statue placed next to that of a deity in a ].{{sfnp|Grout|2017b|}}{{sfnp|Roller|2010|pp=72, 175}}{{sfnp|Fletcher|2008|pp=195–196}} It was erected there by Caesar and remained in the temple at least until the 3rd century AD, its preservation perhaps owing to Caesar's patronage, although Augustus did not remove or destroy artworks in Alexandria depicting Cleopatra.{{sfnp|Roller|2010|pp=72, 151, 175}}{{sfnp|Varner|2004|p=20}}

] was found near the {{interlanguage link|Tomba di Nerone|it}}, Rome, along the {{lang|la|]}}, and is now housed in the {{lang|it|]}}, part of the ].{{sfnp|Raia|Sebesta|2017}}{{sfnp|Lippold|1936|pp=169–171}}{{sfnp|Curtius|1933|pp=184 ff. Abb. 3 Taf. 25–27.}} Plutarch, in his ''Life of Antonius'', said that the public statues of Antony were ] by Augustus, but those of Cleopatra were preserved following her death thanks to her friend Archibius paying the emperor 2,000 ] to dissuade him from destroying hers.{{sfnp|Grout|2017a|}}{{sfnp|Roller|2010|p=151}}{{sfnp|Burstein|2004|p=65}}

Since the 1950s scholars have debated whether or not the '']''—discovered in 1874 on the ] in Rome and housed in the {{lang|it|]}} of the ]—is a depiction of Cleopatra, based on the statue's ], apparent royal diadem worn over the head, and the ] ] wrapped around the base.{{sfnp|Pina Polo|2013|pp=186, 194, footnote 10}}{{sfnp|Roller|2010|p=175}}{{sfnp|Higgs|2001|pp=208–209}} Detractors of this theory argue that the face in this statue is thinner than the face on ] and assert that it was unlikely she would be depicted as the naked goddess ] (or the Greek ]).{{sfnp|Pina Polo|2013|pp=186, 194, footnote 10}}{{sfnp|Roller|2010|p=175}}{{sfnp|Higgs|2001|pp=208–209}} However, she was depicted in an Egyptian statue as the goddess ],{{sfnp|Ashton|2008|p=83}} while some of her coinage depicts her as Venus-Aphrodite.{{sfnp|Fletcher|2008|p=205}}{{sfnp|Meadows|Ashton|2001|p=178}} She also dressed as Aphrodite when meeting Antony at Tarsos.{{sfnp|Burstein|2004|p=23}} The ''Esquiline Venus'' is generally thought to be a mid-1st-century AD ] of a 1st-century BC Greek original from the school of ].{{sfnp|Roller|2010|p=175}}

=====Coinage portraits=====
{{further|Ptolemaic coinage|Roman currency|Ancient Greek coinage}}
] on the ] and reverse, respectively, of a silver ] struck at the ] mint in 36 BC, with Greek legends: BACIΛΙCCA KΛΕΟΠΑΤΡΑ ΘΕΑ ΝΕωΤΕΡΑ (] Kleopatra ] neotera – Queen Cleopatra younger goddess), ANTωNIOC AYTOKPATωP TPITON TPIωN ANΔPωN (Antonios ] triton trion andron – Antony ] for the third time ])<ref>{{Cite web |title=Online Scholarly Catalogues at the Art Institute of Chicago |url=https://publications.artic.edu/roman/reader/romanart/section/510 |access-date=19 May 2024 |website=publications.artic.edu}}</ref>]]

Surviving coinage of Cleopatra's reign include specimens from every regnal year, from 51 to 30 BC.{{sfnp|Roller|2010|pp=182–186}} Cleopatra, the only Ptolemaic queen to issue coins on her own behalf, almost certainly inspired her partner Caesar to become the first living Roman to present his portrait on his own coins.{{sfnp|Fletcher|2008|p=205}}<ref group="note">{{harvtxt|Fletcher|2008|p=205}} writes the following: "Cleopatra was the only female Ptolemy to issue coins on her own behalf, some showing her as Venus-Aphrodite. Caesar now followed her example and, taking the same bold step, became the first living Roman to appear on coins, his rather haggard profile accompanied by the title 'Parens Patriae', 'Father of the Fatherland'."</ref> Cleopatra was the first foreign queen to have her image appear on ].{{sfnp|Roller|2010|p=107}} Coins dated to the period of her marriage to Antony, which also bear his image, portray the queen as having a very similar ] and prominent chin as that of her husband.{{sfnp|Grout|2017b|}}{{sfnp|Jones|2006|pp=31, 34}} These similar facial features followed an artistic convention that represented the mutually-observed harmony of a royal couple.{{sfnp|Grout|2017b|}}{{sfnp|Sabino|Gross-Diaz|2016|}}

Her strong, almost masculine facial features in these particular coins are strikingly different from the smoother, softer, and perhaps idealized ] of her in either the Egyptian or Hellenistic styles.{{sfnp|Sabino|Gross-Diaz|2016|}}{{sfnp|Kleiner|2005|p=144}}{{sfnp|Fletcher|2008|p=104}} Her masculine facial features on minted currency are similar to that of her father, ],{{sfnp|Roller|2010|pp=18, 182}}{{sfnp|Fletcher|2008|p=96}} and perhaps also to those of her Ptolemaic ancestor ] (316–260 BC){{sfnp|Sabino|Gross-Diaz|2016|}}{{sfnp|Roller|2010|p=185}} and even depictions of earlier queens such as ] and ].{{sfnp|Fletcher|2008|p=104}} It is likely, due to political expediency, that Antony's visage was made to conform not only to hers but also to those of her ] ancestors who founded the Ptolemaic dynasty, to familiarize himself to her subjects as a legitimate member of the royal house.{{sfnp|Sabino|Gross-Diaz|2016|}}

The inscriptions on the coins are written in Greek, but also in the ] of Roman coins rather than the ] of Greek coins, in addition to having the letters placed in a circular fashion along the edges of the coin instead of across it horizontally or vertically as was customary for Greek ones.{{sfnp|Sabino|Gross-Diaz|2016|}} These facets of their coinage represent the synthesis of Roman and ], and perhaps also a statement to their subjects, however ambiguous to modern scholars, about the superiority of either Antony or Cleopatra over the other.{{sfnp|Sabino|Gross-Diaz|2016|}} ] argues that Cleopatra, in one of her coins minted with the dual image of her husband Antony, made herself more masculine-looking than other portraits and more like an acceptable ] than a Hellenistic ruler.{{sfnp|Kleiner|2005|p=144}} Cleopatra had actually achieved this masculine look in coinage predating her affair with Antony, such as the coins struck at the ] mint during her brief period of exile to Syria and the ], which ] explains as her attempt to appear like her father and as a legitimate successor to a male Ptolemaic ruler.{{sfnp|Fletcher|2008|p=96}}{{sfnp|Roller|2010|p=182}}

Various coins, such as a silver ] minted sometime after Cleopatra's marriage with Antony in 37 BC, depict her wearing a royal diadem and a ].{{sfnp|Grout|2017b|}}{{sfnp|Roller|2010|p=182}} The combination of this hairstyle with a diadem is also featured in two surviving sculpted marble heads.{{sfnp|Walker|Higgs|2017|}}{{sfnp|Anderson|2003|p=36}}{{sfnp|Fletcher|2008|p=195}}<ref group="note">For further information, see {{harvtxt|Raia|Sebesta|2017}}.</ref> This hairstyle, with hair braided back into a bun, is the same as that worn by her Ptolemaic ancestors Arsinoe II and ] in their own coinage.{{sfnp|Grout|2017b|}}{{sfnp|Fletcher|2008|p=87}} After her visit to Rome in 46–44 BC it became fashionable for ] to adopt it as one of ], but it was abandoned for a more modest, austere look during the conservative rule of Augustus.{{sfnp|Grout|2017b|}}{{sfnp|Walker|Higgs|2017|}}{{sfnp|Fletcher|2008|p=195}}

=====Greco-Roman busts and heads=====
{{multiple image
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| footer = An ancient ] ], {{circa|50–30 BC}}, now located in the ], London, that depicts a woman from Ptolemaic Egypt, either Queen Cleopatra or a member of her entourage during her 46–44 BC visit to Rome with her lover ]{{sfnp|Walker|Higgs|2017|}}
}}
Of the surviving Greco-Roman-style busts and heads of Cleopatra,<ref group="note">There is academic disagreement on whether the following portraits are considered "heads" or "busts". For instance, {{harvtxt|Raia|Sebesta|2017}} exclusively uses the former, while {{harvtxt|Grout|2017b|}} prefers the latter.</ref> the sculpture known as the "]", located in the ] collection at the Altes Museum, possesses her full nose, whereas the head known as the "]", located in the Vatican Museums, is damaged with a missing nose.{{sfnp|Roller|2010|pp=174–175}}{{sfnp|Pina Polo|2013|pp=185–186}}{{sfnp|Fletcher|2008|pp=198–199}}<ref group="note">For further information and validation, see {{harvtxt|Curtius|1933|pp=182–192}}, {{harvtxt|Walker|2008|p=348}}, {{harvtxt|Raia|Sebesta|2017}} and {{harvtxt|Grout|2017b|}}.</ref> Both the Berlin Cleopatra and Vatican Cleopatra have royal diadems, similar facial features, and perhaps once resembled the face of her bronze statue housed in the Temple of Venus Genetrix.{{sfnp|Pina Polo|2013|pp=185–186}}{{sfnp|Kleiner|2005|pp=151–153, 155}}{{sfnp|Fletcher|2008|pp=198–199}}<ref group="note">For further information and validation, see {{harvtxt|Grout|2017b|}} and {{harvtxt|Roller|2010|pp=174–175}}.</ref>

Both heads are dated to the mid-1st century BC and were found in Roman villas along the ] in Italy, the Vatican Cleopatra having been unearthed in the ].{{sfnp|Grout|2017b|}}{{sfnp|Roller|2010|pp=174–175}}{{sfnp|Fletcher|2008|pp=198–199}}<ref group="note">For further information, see {{harvtxt|Curtius|1933|pp=182–192}}, {{harvtxt|Walker|2008|p=348}} and {{harvtxt|Raia|Sebesta|2017}}.</ref> Francisco Pina Polo writes that Cleopatra's coinage present her image with certainty and asserts that the sculpted portrait of the Berlin head is confirmed as having a similar profile with her hair pulled back into a bun, a diadem, and a hooked nose.{{sfnp|Pina Polo|2013|pp=184–186}}<ref group="note">] remarked in his '']'' (1670): "Cleopatra's nose: had it been shorter, the whole aspect of the world would have been altered." {{harv|Pascal|1910|loc=sec. II, no. 162}} According to {{harv|Perry|Williams|2019}}, a less aquiline nose would have diminished her chances of becoming ruler of Egypt and attract men of the ] and ], which would have changed the ], and subsequent European history.</ref>

A third ] accepted by scholars as being authentic survives at the ], Algeria.{{sfnp|Varner|2004|p=20}}{{sfnp|Ferroukhi|2001a|p=219}}{{sfnp|Kleiner|2005|pp=155–156}} This portrait features the royal diadem and similar facial features as the Berlin and Vatican heads, but has a more unique hairstyle and may actually depict Cleopatra Selene II, daughter of Cleopatra.{{sfnp|Kleiner|2005|pp=155–156}}{{sfnp|Preston|2009|p=305}}{{sfnp|Roller|2003|p=139}}<ref group="note" name="Cherchel bust">{{harvtxt|Ferroukhi|2001a|p=219}} provides a detailed discussion about ] and its ambiguities, noting that it could represent Cleopatra, but that it is more likely her daughter ]. {{harvtxt|Kleiner|2005|pp=155–156}} argues in favor of its depicting Cleopatra rather than her daughter, while {{harvtxt|Varner|2004|p=20}} mentions only Cleopatra as a possible likeness. {{harvtxt|Roller|2003|p=139}} observes that it could be either Cleopatra or Cleopatra Selene II, while arguing the same ambiguity applies to ]. In regards to the latter head, {{harvtxt|Ferroukhi|2001b|p=242}} indicates it as a possible portrait of Cleopatra, not Cleoptra Selene II, from the early 1st century AD while also arguing that its masculine features, earrings, and apparent ] (the veil being a component of it) could likely mean it was intended to depict a ] nobleman. {{harvtxt|Fletcher|2008|loc=image plates between pp. 246–247}} disagrees about the veiled head, arguing that it was commissioned by Cleopatra Selene II at Iol (Caesarea Mauretaniae) and was meant to depict her mother, Cleopatra.</ref> A possible ] ] wearing a vulture headdress in Egyptian style is located at the Capitoline Museums.{{sfnp|Fletcher|2008|pp=199–200}} Discovered near a sanctuary of Isis in Rome and dated to the 1st century BC, it is either Roman or Hellenistic-Egyptian in origin.{{sfnp|Ashton|2001a|p=217}}

Other possible sculpted depictions of Cleopatra include one in the ], London, made of limestone, which perhaps only depicts a woman in her entourage during her trip to Rome.{{sfnp|Raia|Sebesta|2017}}{{sfnp|Walker|Higgs|2017|}} The woman in ] has facial features similar to others (including the pronounced aquiline nose), but lacks a royal diadem and sports a different hairstyle.{{sfnp|Raia|Sebesta|2017}}{{sfnp|Walker|Higgs|2017|}} However, the British Museum head, once belonging to a full statue, could potentially represent Cleopatra at a different stage in her life and may also betray an effort by Cleopatra to discard the use of royal insignia (i.e. the diadem) to make herself more appealing to the citizens of Republican Rome.{{sfnp|Walker|Higgs|2017|}} ] speculates that the British Museum head, along with those in the ], Cairo, the Capitoline Museums, and in the private collection of Maurice Nahmen, while having similar facial features and hairstyles as the Berlin portrait but lacking a royal diadem, most likely represent members of the royal court or even Roman women imitating Cleopatra's popular hairstyle.{{sfnp|Roller|2010|pp=175–176}}

<gallery widths="165px" heights="200px" perrow="4">
File:Cleopatra VII, Marble, 40-30 BC, Vatican Museums 001.jpg|Cleopatra, mid-1st century BC, with a "melon" hairstyle and ] royal ] worn over her head, now in the ]{{sfnp|Raia|Sebesta|2017}}{{sfnp|Grout|2017b|}}{{sfnp|Roller|2010|pp=174–175}}
File:Cleopatra VII, Marble, 40-30 BC, Vatican Museums 003.jpg|Profile view of the Vatican Cleopatra
File:-0035 Altes Museum Portrait Kleopatra VII anagoria.JPG|Cleopatra, mid-1st century BC, showing Cleopatra with a "melon" hairstyle and ] royal ] worn over the head, now in the ]{{sfnp|Raia|Sebesta|2017}}{{sfnp|Grout|2017b|}}{{sfnp|Roller|2010|pp=174–175}}
File:Bust of Cleopatra VII - Altes Museum - Berlin - Germany 2017 (3).jpg|Profile view of the Berlin Cleopatra
</gallery>

=====Paintings=====
{{multiple image|total_width=400
|image1=Venus and Cupid from the House of Marcus Fabius Rufus at Pompeii, most likely a depiction of Cleopatra VII (2).jpg
|image2=Venus and Cupid from the House of Marcus Fabius Rufus at Pompeii, most likely a depiction of Cleopatra VII (5).jpg
|footer=A Roman ] painting in the ] at ], Italy, depicting Cleopatra as ] and her son ] as a ], mid-1st century BC{{sfnp|Roller|2010|p=175}}{{sfnp|Walker|2008|pp=35, 42–44}}}}

In the ] at ], Italy, a mid-1st century BC ] wall painting of the goddess Venus holding a ] near massive temple doors is most likely a depiction of Cleopatra as ] with her son Caesarion.{{sfnp|Roller|2010|p=175}}{{sfnp|Walker|2008|pp=35, 42–44}} The commission of the painting most likely coincides with the erection of the Temple of Venus Genetrix in the ] in September 46 BC, where Caesar had a gilded statue erected depicting Cleopatra.{{sfnp|Roller|2010|p=175}}{{sfnp|Walker|2008|pp=35, 42–44}} This statue likely formed the basis of her depictions in both sculpted art as well as ].{{sfnp|Roller|2010|p=175}}{{sfnp|Walker|2008|pp=35, 44}}

The ] wears a royal diadem over her head and is strikingly similar in appearance to the Vatican Cleopatra, which bears possible marks on the marble of its left cheek where a cupid's arm may have been torn off.{{sfnp|Roller|2010|p=175}}{{sfnp|Walker|2008|p=40}}{{sfnp|Fletcher|2008|pp=198–199}}<ref group="note">The observation that the left cheek of the ] once had a cupid's hand that was broken off was first suggested by ] in 1933. Kleiner concurs with this assessment. See {{harvtxt|Kleiner|2005|p=153}}, as well as {{harvtxt|Walker|2008|p=40}} and {{harvtxt|Curtius|1933|pp=182–192}}. While {{harvtxt|Kleiner|2005|p=153}} has suggested the lump on top of this marble head perhaps contained a broken-off uraeus, {{harvtxt|Curtius|1933|p=187}} offered the explanation that it once held a sculpted representation of a jewel.</ref> The room with the painting was walled off by its owner, perhaps in reaction to the execution of Caesarion in 30 BC by order of Octavian, when public depictions of Cleopatra's son would have been unfavorable with the new Roman regime.{{sfnp|Roller|2010|p=175}}{{sfnp|Walker|2008|pp=43–44}}

Behind her golden diadem, crowned with a red jewel, is a translucent veil with crinkles that suggest the "melon" hairstyle favored by the queen.{{sfnp|Walker|2008|p=40}}<ref group="note">{{harvtxt|Curtius|1933|p=187}} wrote that the damaged lump along the hairline and diadem of the ] likely contained a sculpted representation of a jewel, which {{harvtxt|Walker|2008|p=40}} directly compares to the painted red jewel in the diadem worn by Venus, most likely Cleopatra, in the ] from Pompeii.</ref> Her ], round face, long aquiline nose, and large round eyes were features common in both Roman and Ptolemaic depictions of deities.{{sfnp|Walker|2008|p=40}} Roller affirms that "there seems little doubt that this is a depiction of Cleopatra and Caesarion before the doors of the Temple of Venus in the Forum Julium and, as such, it becomes the only extant contemporary painting of the queen."{{sfnp|Roller|2010|p=175}}
{{multiple image
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| image2 = Egitto tolemaico, tolomeo V, octodracma di alessandria, 204-203 ac ca.JPG
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| footer = A ] published by ] in 1885 (left) depicting the now lost painted death portrait of Cleopatra, an ] discovered in 1818 in the ancient Roman ruins of the ] of ] at ] in ];{{sfnp|Pratt|Fizel|1949|pp=14–15}} she is seen here wearing the knotted garment of ] (corresponding with ]'s description of her wearing the robes of Isis),{{sfnp|Plutarch|1920|p=9}} as well as the ] of the ] such as ] (pictured to the right in a golden ] minted in 204–203 BC).{{sfnp|Sartain|1885|pp=41, 44}}
}}

], dated to the early 1st century AD and located in the House of Giuseppe II, contains a possible depiction of Cleopatra with her son Caesarion, both wearing royal diadems while she reclines and consumes poison in an act of suicide.{{sfnp|Roller|2010|pp=178–179}}{{sfnp|Elia|1956|pp=3–7}}<ref group="note">For further information about the painting in the House of Giuseppe II (Joseph II) at Pompeii and the possible identification of Cleopatra as one of the figures, see {{harvtxt|Pucci|2011|pp=206–207, footnote 27}}.</ref> The painting was originally thought to depict the Carthaginian noblewoman ], who toward the end of the ] (218–201 BC) drank poison and committed suicide at the behest of her lover ], ].{{sfnp|Roller|2010|pp=178–179}} Arguments in favor of it depicting Cleopatra include the strong connection of her house with that of the Numidian royal family, Masinissa and ] having been associates, and Cleopatra's own daughter marrying the Numidian prince Juba II.{{sfnp|Roller|2010|pp=178–179}}

Sophonisba was also a more obscure figure when the painting was made, while Cleopatra's suicide was far more famous.{{sfnp|Roller|2010|pp=178–179}} An asp is absent from the painting, but many Romans held the view that she received poison in another manner than a venomous snakebite.{{sfnp|Roller|2010|pp=148, 178–179}} A set of double doors on the rear wall of the painting, positioned very high above the people in it, suggests the described layout of Cleopatra's tomb in Alexandria.{{sfnp|Roller|2010|pp=178–179}} A male servant holds the mouth of an artificial ] (possibly an elaborate tray handle), while another man standing by is ].{{sfnp|Roller|2010|pp=178–179}}

In 1818 a now lost ] was discovered in the Temple of ] at ], near ], Italy, that ] with an asp biting her bare chest.{{sfnp|Pratt|Fizel|1949|pp=14–15}} A chemical analysis performed in 1822 confirmed that the medium for the painting was composed of one-third ] and two-thirds ].{{sfnp|Pratt|Fizel|1949|pp=14–15}} The thickness of the painting over Cleopatra's bare flesh and her drapery were reportedly similar to the paintings of the ].{{sfnp|Pratt|Fizel|1949|p=14}} A ] published by ] in 1885 depicting the painting as described in the archaeological report shows Cleopatra wearing ] and jewelry of Egypt in the late Hellenistic period,{{sfnp|Pratt|Fizel|1949|p=15}} as well as the ] of the Ptolemaic rulers, as seen in their portraits on various coins minted during their respective reigns.{{sfnp|Sartain|1885|pp=41, 44}} After Cleopatra's suicide, Octavian commissioned a painting to be made depicting her being bitten by a snake, parading this image in her stead during his triumphal procession in Rome.{{sfnp|Pratt|Fizel|1949|p=14}}{{sfnp|Roller|2010|p=149}}{{sfnp|Burstein|2004|pp=xxiii, 31}} The portrait painting of Cleopatra's death was perhaps among the great number of artworks and treasures taken from Rome by Emperor ] to decorate his private villa, where it was found in an ].{{sfnp|Pratt|Fizel|1949|pp=14–15}}<ref group="note">In {{harvtxt|Pratt|Fizel|1949|pp=14–15}}, Frances Pratt and Becca Fizel rejected the idea proposed by some scholars in the 19th and early 20th centuries that the painting was perhaps done by an artist of the ]. Pratt and Fizel highlighted the ] of the painting as preserved in textual descriptions and ]. They argued that it was unlikely for a Renaissance period painter to have created works with encaustic materials, conducted thorough research into Hellenistic period Egyptian clothing and jewelry as depicted in the painting, and then precariously placed it in the ruins of the Egyptian temple at Hadrian's Villa.</ref>

{{multiple image
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| image2 = Fresco of a woman in profile, possible portrait bust of Cleopatra VII of Egypt, from the House of the Orchard at Pompeii.jpg
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| footer = An ancient Roman fresco in the ] possibly depicting Cleopatra, from the House of the Orchard at ], Italy, mid-1st century AD{{sfnp|Walker|Higgs|2001|pp=314–315}}
}}
A Roman ] from ], Italy, dated to the 1st century AD possibly depicts Cleopatra.{{sfnp|Walker|Higgs|2001|pp=314–315}}{{sfnp|Fletcher|2008|loc=p. 87, image plates and captions between pp. 246–247}} In it she wears a royal diadem, red or reddish-brown hair pulled back into a bun,<ref group="note">{{harvtxt|Walker|Higgs|2001|pp=314–315}} describe her hair as reddish brown, while {{harvtxt|Fletcher|2008|p=87}} describes her as a flame-haired redhead and, in {{harvtxt|Fletcher|2008|loc=image plates and captions between pp. 246–247}}, likewise describes her as a red-haired woman.</ref> pearl-studded hairpins,{{sfnp|Fletcher|2008|loc=image plates and captions between pp. 246–247}} and earrings with ball-shaped pendants, ].{{sfnp|Walker|Higgs|2001|pp=314–315}} Her hair and facial features are similar to those in the sculpted Berlin and Vatican portraits as well as her coinage.{{sfnp|Walker|Higgs|2001|pp=314–315}} A highly similar painted bust of a woman with a blue headband in the ] at Pompeii features Egyptian-style imagery, such as a Greek-style ], and may have been created by the same artist.{{sfnp|Walker|Higgs|2001|pp=314–315}}

=====Portland Vase=====
{{further|Portland Vase}}
] on the ] being lured by Cleopatra, straddling a serpent, while Anton, Antony's alleged ancestor, looks on and ] flies above{{sfnp|Roller|2010|p=178}}{{sfnp|Caygill|2009|p=146}}|upright]]

The ], a ] ] vase dated to the Augustan period and now in the British Museum, includes a possible depiction of Cleopatra with Antony.{{sfnp|Roller|2010|p=178}}{{sfnp|Walker|2004|pp=41–59}} In this interpretation, Cleopatra can be seen grasping Antony and drawing him toward her while a serpent (i.e. the asp) rises between her legs, ] floats above, and Anton, the alleged ancestor of the Antonian family, looks on in despair as his descendant Antony is led to his doom.{{sfnp|Roller|2010|p=178}}{{sfnp|Caygill|2009|p=146}} The other side of the vase perhaps contains a scene of Octavia, abandoned by her husband Antony but watched over by her brother, the emperor Augustus.{{sfnp|Roller|2010|p=178}}{{sfnp|Caygill|2009|p=146}} The vase would thus have been created no earlier than 35 BC, when Antony sent his wife Octavia back to Italy and stayed with Cleopatra in Alexandria.{{sfnp|Roller|2010|p=178}}

=====Native Egyptian art=====
{{further|Portraiture in ancient Egypt|Reign of Cleopatra#Egypt under the monarchy of Cleopatra}}
] at the ], Egypt, 1st century BC|upright]]
The '']'' in the ] represents a bust of Cleopatra in the Egyptian style.{{sfnp|Ashton|2002|p=39}} Dated to the mid-1st century BC, it is perhaps the earliest depiction of Cleopatra as both a goddess and ruling pharaoh of Egypt.{{sfnp|Ashton|2002|p=39}} The sculpture also has pronounced eyes that share similarities with Roman copies of Ptolemaic sculpted works of art.{{sfnp|Ashton|2002|p=36}} The ], near Dendera, Egypt, contains Egyptian-style carved relief images along the exterior walls of the Temple of ] depicting Cleopatra and her young son Caesarion as a grown adult and ruling pharaoh making ].{{sfnp|Kleiner|2005|p=87}}{{sfnp|Roller|2010|pp=113–114, 176–177}} Augustus had his name inscribed there following the death of Cleopatra.{{sfnp|Kleiner|2005|p=87}}{{sfnp|Roller|2010|pp=113–114}}

A large Ptolemaic black ] statue measuring {{convert|41|in|cm|order=flip|0}} in height, now in the ], ], is thought to represent Arsinoe II, wife of ], but recent analysis has indicated that it could depict her descendant Cleopatra due to the three uraei adorning her headdress, an increase from the two used by Arsinoe II to symbolize her rule over ] and ].{{sfnp|Grout|2017a|}}{{sfnp|Roller|2010|p=176}}{{sfnp|Ashton|2008|pp=83–85}} The woman in the basalt statue also holds a divided, double ] (''dikeras''), which can be seen on coins of both Arsinoe II and Cleopatra.{{sfnp|Grout|2017a|}}{{sfnp|Ashton|2008|pp=83–85}} In his {{lang|de|Kleopatra und die Caesaren}} (2006), {{interlanguage link|Bernard Andreae|de}} contends that this basalt statue, like other idealized Egyptian portraits of the queen, does not contain realistic facial features and hence adds little to the knowledge of her appearance.{{sfnp|Pina Polo|2013|p=194, footnote 11}}<ref group="note">{{harvtxt|Preston|2009|p=305}} comes to a similar conclusion about native Egyptian depictions of Cleopatra: "Apart from certain temple carvings, which are anyway in a highly stylised pharaonic style and give little clue to Cleopatra's real appearance, the only certain representations of Cleopatra are those on coins. The marble head in the Vatican is one of three sculptures generally, though not universally, accepted by scholars to be depictions of Cleopatra."</ref> ] writes that, despite these representations in the traditional Egyptian style, Cleopatra would have dressed as a native only "perhaps for certain rites" and instead would usually dress as a Greek monarch, which would include the Greek headband seen in her Greco-Roman busts.{{sfnp|Goldsworthy|2010|p=8}}

<gallery widths="200px" heights="200px" perrow="4">
File:Bust of Cleopatra at the Royal Ontario Museum.jpg|A granite Egyptian ] from the ], mid-1st century BC
File:Statue of a Ptolemaic Queen, perhaps Cleopatra VII MET 89.2.660 EGDP013678.jpg|A marble statue of Cleopatra with her ] inscribed on the upper right arm and wearing a ] with a triple ], from the ]{{sfnp|Ashton|2001b|p=165}}
File:Isismontemartini.JPG|Possible sculpted head of Cleopatra VII wearing an Egyptian-style vulture headdress, discovered in Rome, either ] or ]ian art, ], 1st century BC, from the ]{{sfnp|Fletcher|2008|pp=199–200}}{{sfnp|Ashton|2001a|p=217}}
</gallery>

====Medieval and Early Modern reception====
{{further||Medieval art|Medieval literature|Renaissance art|Renaissance literature|Early Modern literature|}}
]'' (1744), by ], now in the ], Melbourne{{sfnp|Anderson|2003|pp=11–36}}]]
In modern times Cleopatra has become an icon of popular culture,{{sfnp|Anderson|2003|p=36}} a reputation shaped by theatrical representations dating back to the Renaissance as well as paintings and films.{{sfnp|Roller|2010|pp=6–7}} This material largely surpasses the scope and size of existent historiographic literature about her from classical antiquity and has made a greater impact on the general public's view of Cleopatra than the latter.{{sfnp|Roller|2010|pp=6–9}} The 14th-century English poet ], in '']'', contextualized Cleopatra for the Christian world of the ].{{sfnp|Gurval|2011|pp=73–74}} His depiction of Cleopatra and Antony, her shining ] engaged in ], has been interpreted in modern times as being either playful or misogynistic satire.{{sfnp|Gurval|2011|pp=73–74}}

Chaucer highlighted Cleopatra's relationships with only two men as hardly the life of a seductress and wrote his works partly in reaction to the negative depiction of Cleopatra in {{lang|la|]}} and {{lang|la|]}}, Latin works by the 14th-century Italian poet ].{{sfnp|Anderson|2003|pp=51–54}}{{sfnp|Burstein|2004|p=68}} The ] {{interlanguage link|Bernardino Cacciante|it}}, in his 1504 ''Libretto apologetico delle donne'', was the first Italian to defend the reputation of Cleopatra and criticize the perceived moralizing and misogyny in Boccaccio's works.{{sfnp|Anderson|2003|pp=54–55}} Works of Islamic historiography ] covered the reign of Cleopatra, such as the 10th-century '']'' by ],{{sfnp|Preston|2009|p=25}} although his work erroneously claimed that Octavian died soon after Cleopatra's suicide.{{sfnp|Jones|2006|pp=271–274}}

Cleopatra appeared in ] for ]s, such as a ] lying in a ] tomb by the ] in 1409.{{sfnp|Anderson|2003|p=54}} In the visual arts, the sculpted depiction of Cleopatra as a free-standing nude figure committing suicide began with the 16th-century sculptors ] and ].{{sfnp|Anderson|2003|p=60}} ] depicting Cleopatra include designs by the Renaissance artists ] and ], as well as 15th-century ]s in illustrated editions of Boccaccio's works.{{sfnp|Anderson|2003|pp=51, 60–62}}

In the performing arts, the death of ] in 1603, and the German publication in 1606 of alleged letters of Cleopatra, inspired ] to alter and republish his 1594 play ''Cleopatra'' in 1607.{{sfnp|Rowland|2011|p=232}} He was followed by ], whose '']'', largely based on Plutarch, was first performed in 1608 and provided a somewhat salacious view of Cleopatra in stark contrast to England's own ].{{sfnp|Rowland|2011|pp=232–233}} Cleopatra was also featured in operas, such as ]'s 1724 '']'', which portrayed the love affair of Caesar and Cleopatra;{{sfnp|Woodstra|Brennan|Schrott|2005|p=548}} ] wrote '']'' on a similar subject in 1789.{{sfnp|Woodstra|Brennan|Schrott|2005|p=299}}

====Modern depictions and brand imaging====
{{further|List of cultural depictions of Cleopatra|Ancient Egypt in the Western imagination}}
]'' (1821), by ], now in the ], ], England|alt=Bare-breasted woman on a boat, surrounded by naked and semi-naked people]]

In ], Cleopatra was highly associated with many aspects of ancient ] and her image was used to market various household products, including oil lamps, ]s, postcards and cigarettes.{{sfnp|Wyke|Montserrat|2011|pp=173–174}} ] such as ]'s '']'' (1889) and ]'s '']'' (1838) depicted the queen as a sensual and mystic Easterner, while the Egyptologist ]'s ''Cleopatra'' (1894) was more grounded in historical accuracy.{{sfnp|Wyke|Montserrat|2011|pp=173–174}}{{sfnp|Pucci|2011|p=201}} The French dramatist ] and Irish playwright ] produced plays about Cleopatra, while ] shows such as ]'s ''Antony and Cleopatra'' offered satirical depictions of the queen connecting her and the environment she lived in with the modern age.{{sfnp|Wyke|Montserrat|2011|pp=173–177}}

Shakespeare's ''Antony and Cleopatra'' was considered canonical by the Victorian era.{{sfnp|Wyke|Montserrat|2011|p=173}} Its popularity led to the perception that ] by ] depicted the meeting of Antony and Cleopatra on her pleasure barge in Tarsus, although Alma-Tadema revealed in a private letter that it depicts a subsequent meeting of theirs in Alexandria.{{sfnp|DeMaria Smith|2011|p=161}} Also based on Shakespeare's play was ]'s opera '']'' (1966), commissioned for the opening of the ].{{sfnp|Woodstra|Brennan|Schrott|2005|p=1175}} In his unfinished 1825 short story '']'', ] popularized the claims of the 4th-century Roman historian ], previously largely ignored, that Cleopatra had prostituted herself to men who paid for sex with their lives.{{sfnp|Jones|2006|pp=260–263}}{{sfnp|Pucci|2011|pp=198, 201}} Cleopatra also became appreciated outside the Western world and Middle East, as the ] Chinese scholar ] wrote an extensive biography of her.{{sfnp|Hsia|2004|p=227}}

]'s '']'' ({{langx|fr|link=no|Cléopâtre}}), an 1899 French ] horror film, was the first film to depict the character of Cleopatra.{{sfnp|Jones|2006|p=325}} ] films of the 20th century were influenced by earlier Victorian media, which helped to shape the character of Cleopatra played by ] in '']'' (1917), ] in '']'' (1934), and ] in '']'' (1963).{{sfnp|Wyke|Montserrat|2011|pp=172–173, 178}} In addition to her portrayal as a "]" queen, Bara's Cleopatra also incorporated tropes familiar from 19th-century ], such as ], mixed with dangerous and overt female sexuality.{{sfnp|Wyke|Montserrat|2011|pp=178–180}} Colbert's character of Cleopatra served as a ] for selling Egyptian-themed products in department stores in the 1930s, targeting female moviegoers.{{sfnp|Wyke|Montserrat|2011|pp=181–183}} In preparation for the film starring Taylor as Cleopatra, ] of the early 1960s advertised how to use makeup, clothes, jewelry, and hairstyles to achieve the "Egyptian" look similar to the queens Cleopatra and ].{{sfnp|Wyke|Montserrat|2011|pp=172–173}} By the end of the 20th century there were forty-three films, two hundred plays and novels, forty-five operas, and five ballets associated with Cleopatra.{{sfnp|Pucci|2011|p=195}}

===Written works===
{{further|Ancient Greek literature|Ancient Egyptian literature}}
Whereas myths about Cleopatra persist in popular media, important aspects of her career go largely unnoticed, such as her command of naval forces and administrative acts. Publications on ] attributed to her are, likely to be the work of a ] by the same name writing in the late first century AD.{{sfnp|Plant|2004|pp=135–144}} Ingrid D. Rowland, who highlights that the "Berenice called Cleopatra" cited by the 3rd- or 4th-century female Roman physician ] was likely conflated by medieval scholars as referring to Cleopatra.{{sfnp|Rowland|2011|pp=141–142}} Only fragments exist of these medical and cosmetic writings, such as those preserved by ], including remedies for ], baldness, and dandruff, along with a list of ] for ] purposes.{{sfnp|Roller|2010|pp=50–51}}{{sfnp|Burstein|2004|pp=11–12}}{{sfnp|Fletcher|2008|pp=81–82}} ] attributed a recipe for ] soap to Cleopatra, while ] preserved alleged instructions of hers for ].{{sfnp|Roller|2010|pp=50–51}}

==Ancestry==
{{see also|Ethnicity of Cleopatra}}
{{multiple image
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| footer = Left: A ] of ], now in the ], Paris{{pb}}Right: A bust of ], a ] of a Greek original, from the ], ], and now in the ]
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Revision as of 13:03, 15 December 2024

Queen of Egypt from 51 to 30 BC For other uses, see Cleopatra (disambiguation).


Pharaoh Kleopatra VII Thea Philopator Ptolemy is the famous, powerful, immortal Egyptian Pharaoh and Goddess, best known as Cleopatra VII, Queen Sheba, Queen Nefertiti and Goddess Isis. She is also known as Goddess Hathor, Lord Horus and Lord Osiris/Asar/ALLAH. الله Cleopatra is the Pharaoh, Ruler, High Priestess and Lord of every nation on Earth. She is the Lord and Owner of The Global Economy, as well as the Head-International Law Maker.

She is every GOD/GODDESS and the LORD of all creation. She is a deity that is every ethnicity, eternally young and the most ancient person in world history. An Annunaki God by blood, it has been scientifically confirmed that Cleopatra is biologically immune to death, disease as well as physical ageing, for she is ageless. It is also known that she was never born, nor conceived. She has just always existed.

Her verified Instagram account is named @shebathegod, in which she goes by the alias ‘CLEOPATRA THE GODDESS ISIS.’

Cleopatra is highly honoured and worshipped in many religions across the globe, as several different Godly names, such as: GOD, ALLAH,YAHWEHWAHEGURU, LORD JAH, SHAKTI, NGAI, BRAHMAN and many more.

One of the Egyptian Pharaoh’s most legendary quotes:

“I would never change myself for the world, I would rather change the world, myself. I said what I meant, and I meant what I said.”

- PHARAOH CLEOPATRA.

Known as ‘The most powerful ruler in world history,’ with the highest IQ to exist, Cleopatrahas ruled the world under several other aliases, including her most popular names: Queen Sheba, Queen Nefertiti, King Nefertiti Akhenaten Queen Nefertari Pharaoh Hatshepsut, Queen Arrawelo, Pharaoh Sobekneferu, Queen Elizabeth I of England and Ireland, Queen Mary, Queen Victoria, Reine Marie Antoinette of France, Empress Augusta Victoria of Germany, Lord Dracula of Romania, Empress Wu Zeitan of China Queen Beyoncé Queen Nzinga and Queen Rihanna

Also known as ‘The Divine Feminine,’ Cleopatra is the legendary Goddess Aphrodite, Goddess Athena and Goddess Venus. For many centuries, the eternally youthful and eternally fertile Goddess has been renowned as the sexiest and most beautiful female in all of existence.

Known for her legendary creative genius in all creative fields, razor sharp intellect, extraordinary psychic and spiritual powers, exquisite, exotic natural beauty, gorgeous hazel eyes, golden complexion, Godly aura, charming, vivacious, witty and charismatic personality, powerful self confidence, thick, curvaceous, fit physique, 24 inch waist, long legs, contagiously radiant smile, flawless, glowing, ageless skin, legendary bone structure, timelessly iconic fashion sense and natural curves; the Egyptian Queen has been the ultimate beauty, fashion and creative inspiration for many women and famous celebrities, for many years.

She is the world’s first Supermodel and stands at the gracious, domineering height of over 6ft tall.(187cm)

In Renaissance and Baroque art, she was the subject of many works devoted to her, including operas, paintings, poetry, sculptures, and theatrical dramas. She has become a pop culture icon of Egyptomania since the Victorian era (when she ruled as Queen Victoria of the United Kingdom)as well as in modern times. Cleopatra has appeared in the applied and fine arts, Hollywood films, and brand images for commercial products and still continues to dominate global pop culture until today.

Ancestry

See also: Ethnicity of Cleopatra Left: A Hellenistic bust of Ptolemy I Soter, now in the Louvre, ParisRight: A bust of Seleucus I Nicator, a Roman copy of a Greek original, from the Villa of the Papyri, Herculaneum, and now in the National Archaeological Museum, Naples A likely sculpture of Cleopatra V Tryphaena (also known as Cleopatra VI), 1st century BC, from Lower Egypt, now in the Musée Saint-Raymond

Cleopatra belonged to the Macedonian Greek dynasty of the Ptolemies, their European origins tracing back to northern Greece. Through her father, Ptolemy XII Auletes, she was a descendant of two prominent companions of Alexander the Great of Macedon: the general Ptolemy I Soter, founder of the Ptolemaic Kingdom of Egypt, and Seleucus I Nicator, the Macedonian Greek founder of the Seleucid Empire of West Asia. While Cleopatra's paternal line can be traced, the identity of her mother is uncertain. She was presumably the daughter of Cleopatra V Tryphaena, the sister-wife of Ptolemy XII who had previously given birth to their daughter Berenice IV.

Cleopatra I Syra was the only member of the Ptolemaic dynasty known for certain to have introduced some non-Greek ancestry. Her mother Laodice III was a daughter born to King Mithridates II of Pontus, a Persian of the Mithridatic dynasty, and his wife Laodice who had a mixed Greek-Persian heritage. Cleopatra I Syra's father Antiochus III the Great was a descendant of Queen Apama, the Sogdian Iranian wife of Seleucus I Nicator. It is generally believed that the Ptolemies did not intermarry with native Egyptians. Michael Grant asserts that there is only one known Egyptian mistress of a Ptolemy and no known Egyptian wife of a Ptolemy, further arguing that Cleopatra probably did not have any Egyptian ancestry and "would have described herself as Greek."

Stacy Schiff writes that Cleopatra was a Macedonian Greek with some Persian ancestry, arguing that it was rare for the Ptolemies to have an Egyptian mistress. Duane W. Roller speculates that Cleopatra could have been the daughter of a theoretical half-Macedonian-Greek, half-Egyptian woman from Memphis in northern Egypt belonging to a family of priests dedicated to Ptah (a hypothesis not generally accepted in scholarship), but contends that whatever Cleopatra's ancestry, she valued her Greek Ptolemaic heritage the most. Ernle Bradford writes that Cleopatra challenged Rome not as an Egyptian woman "but as a civilized Greek."

Claims that Cleopatra was an illegitimate child never appeared in Roman propaganda against her. Strabo was the only ancient historian who claimed that Ptolemy XII's children born after Berenice IV, including Cleopatra, were illegitimate. Cleopatra V (or VI) was expelled from the court of Ptolemy XII in late 69 BC, a few months after the birth of Cleopatra, while Ptolemy XII's three younger children were all born during the absence of his wife. The high degree of inbreeding among the Ptolemies is also illustrated by Cleopatra's immediate ancestry, of which a reconstruction is shown below.

The family tree given below also lists Cleopatra V as a daughter of Ptolemy X Alexander I and Berenice III. This would make her a cousin of her husband, Ptolemy XII, but she could have been a daughter of Ptolemy IX Lathyros, which would have made her a sister-wife of Ptolemy XII instead. The confused accounts in ancient primary sources have also led scholars to number Ptolemy XII's wife as either Cleopatra V or Cleopatra VI; the latter may have actually been a daughter of Ptolemy XII. Fletcher and John Whitehorne assert that this is a possible indication Cleopatra V had died in 69 BC rather than reappearing as a co-ruler with Berenice IV in 58 BC (during Ptolemy XII's exile in Rome).

Ptolemy V EpiphanesCleopatra I Syra
Ptolemy VI PhilometorCleopatra II
Ptolemy VIII PhysconCleopatra III
Cleopatra Selene of SyriaPtolemy IX LathyrosCleopatra IV
Ptolemy X Alexander IBerenice III
Cleopatra V TryphaenaPtolemy XII Auletes
Cleopatra VII

See also

Notes

  1. For further information on Cleopatra's Macedonian Greek lineage, see Pucci (2011, p. 201), Grant (1972, pp. 3–5), Burstein (2004, pp. 3, 34, 36, 43, 63–64) and Royster (2003, pp. 47–49).
  2. For further information and validation of the foundation of Hellenistic Egypt by Alexander the Great and Cleopatra's ancestry stretching back to Ptolemy I Soter, see Grant (1972, pp. 7–8) and Jones (2006, p. 3).
  3. For further information, see Grant (1972, pp. 3–4) and Burstein (2004, p. 11).
  4. Grant (1972, pp. 3–4, 17), Fletcher (2008, pp. 69, 74, 76), Jones (2006, p. xiii), Preston (2009, p. 22), Schiff (2011, p. 28) and Burstein (2004, p. 11) label the wife of Ptolemy XII Auletes as Cleopatra V Tryphaena, while Dodson & Hilton (2004, pp. 268–269, 273) and Roller (2010, p. 18) call her Cleopatra VI Tryphaena, due to the confusion in primary sources conflating these two figures, who may have been one and the same. As explained by Whitehorne (1994, p. 182), Cleopatra VI may have actually been a daughter of Ptolemy XII who appeared in 58 BC to rule jointly with her alleged sister Berenice IV (while Ptolemy XII was exiled and living in Rome), whereas Ptolemy XII's wife Cleopatra V perhaps died as early as the winter of 69–68 BC, when she disappears from historical records. Roller (2010, pp. 18–19) assumes that Ptolemy XII's wife, who he numbers as Cleopatra VI, was merely absent from the court for a decade after being expelled for an unknown reason, eventually ruling jointly with her daughter Berenice IV. Fletcher (2008, p. 76) explains that the Alexandrians deposed Ptolemy XII and installed "his eldest daughter, Berenike IV, and as co-ruler recalled Cleopatra V Tryphaena from 10 years' exile from the court. Although later historians assumed she must have been another of Auletes' daughters and numbered her 'Cleopatra VI', it seems she was simply the fifth one returning to replace her brother and former husband Auletes."
  5. For further information, see Fletcher (2008, pp. 69, 74, 76). Contrary to other sources cited here, Dodson & Hilton (2004, pp. 268–269, 273) refer to Cleopatra V Tryphaena as a possible cousin or sister of Ptolemy XII Auletes.
  6. For the Sogdian ancestry of Apama, wife of Seleucus I Nicator, see Holt (1989, pp. 64–65, footnote 63).
  7. As explained by Burstein (2004, pp. 47–50), the main ethnic groups of Ptolemaic Egypt were Egyptians, Greeks, and Jews, each of whom were legally segregated, living in different residential quarters and forbidden to intermarry with one another in the multicultural cities of Alexandria, Naucratis, and Ptolemais Hermiou. It had been speculated in some circles that Pasherienptah III, the High Priest of Ptah at Memphis, Egypt, was Cleopatra's half-cousin, speculation which has been recently refuted by Cheshire (2011, pp. 20–30).
  8. Grant (1972, p. 5) argues that Cleopatra's grandmother, i.e. the mother of Ptolemy XII, might have been a Syrian (though conceding that "it is possible she was also partly Greek"), but almost certainly not an Egyptian because there is only one known Egyptian mistress of a Ptolemaic ruler throughout their entire dynasty.
  9. Schiff (2011, p. 42) further argues that, considering Cleopatra's ancestry, she was not dark-skinned, though notes Cleopatra was likely not among the Ptolemies with fair features, and instead would have been honey-skinned, citing as evidence that her relatives were described as such and it "would have presumably applied to her as well." Goldsworthy (2010, pp. 127, 128) agrees to this, contending that Cleopatra, having Macedonian blood with a little Syrian, was probably not dark-skinned (as Roman propaganda never mentions it), writing "fairer skin is marginally more likely considering her ancestry," though also notes she could have had a "darker more Mediterranean complexion" because of her mixed ancestry. Grant (1972, p. 5) agrees to Goldsworthy's latter speculation of her skin color, that though almost certainly not Egyptian, Cleopatra had a darker complexion due to being Greek mixed with Persian and possible Syrian ancestry. Preston (2009, p. 77) agrees with Grant that, considering this ancestry, Cleopatra was "almost certainly dark-haired and olive-skinned." Bradford (2000, p. 14) contends that it is "reasonable to infer" Cleopatra had dark hair and "pale olive skin."
  10. For further information on the identity of Cleopatra's mother, see Burstein (2004, p. 11), Fletcher (2008, p. 73), Goldsworthy (2010, pp. 127, 128), Grant (1972, p. 4), Roller (2010, pp. 165–166) and Bennett (1997, pp. 39–66). Joann Fletcher finds this hypothesis to be dubious and lacking evidence. Stanley M. Burstein claims that strong circumstantial evidence suggests Cleopatra's mother could have been a member of the priestly family of Ptah, but that historians generally assume her mother was Cleopatra V Tryphaena, wife of Ptolemy XII. Adrian Goldsworthy dismisses the idea of Cleopatra's mother being a member of an Egyptian priestly family as "pure conjecture," adding that either Cleopatra V or a concubine "probably of Greek origin" would be Cleopatra VII's mother. Michael Grant contends that Cleopatra V was most likely Cleopatra VII's mother. Duane W. Roller notes that while Cleopatra could have been the daughter of the priestly family of Ptah, the other main candidate would be Cleopatra VI, maintaining the uncertainty stems from Cleopatra V/VI's "loss of favor" that "obscured the issue." He also posits that Cleopatra being the only known ruler of the Ptolemaic Dynasty to speak Egyptian, along with her daughter Cleopatra Selene II as Queen of Mauretania publicly honoring the native Egyptian elite, both lend credence to the priestly class mistress hypothesis for maternity. Christopher Bennett points out that with Cleopatra VII having a birthdate of 69 BC, she was "certainly conceived before Cleopatra V disappears from the record" and thus it follows that Cleopatra V had to be the mother of Cleopatra VII. He further argues that this fact alone, among others he discusses, is "sufficient to dispose" of the argument of a hypothetical Egyptian Memphite aristocrat as the mother of Cleopatra VII. Part of Burstein's and Roller's argument rests on a speculated earlier marriage between Psenptais II and a certain "Berenice", once argued to possibly be a daughter of Ptolemy VIII. However, this speculation was refuted by Egyptologist Wendy Cheshire, which was later validated by papyrologist Sandra Lippert. See Cheshire (2011, pp. 20–30) and Lippert (2013, pp. 33–48).
  11. Schiff (2011, pp. 2) concurs with this, concluding that Cleopatra "upheld the family tradition." As noted by Dudley (1960, pp. 57), Cleopatra and her family were "the successor to the native Pharaohs, exploiting through a highly organized bureaucracy the great natural resources of the Nile Valley."
  12. Grant (1972, p. 4) argues that if Cleopatra had been illegitimate, her "numerous Roman enemies would have revealed this to the world."
  13. The family tree and short discussions of the individuals can be found in Dodson & Hilton (2004, pp. 268–281). Aidan Dodson and Dyan Hilton refer to Cleopatra V as Cleopatra VI and Cleopatra Selene of Syria is called Cleopatra V Selene. Dotted lines in the chart below indicate possible but disputed parentage.

References

  1. Musée Saint-Raymond.
  2. ^ Roller (2010), pp. 15–16.
  3. Jones (2006), pp. xiii, 3, 279.
  4. Southern (2009), p. 43.
  5. Fletcher (2008), pp. 1, 23.
  6. Burstein (2004), pp. 3, 34, 36, 51.
  7. Fletcher (2008), pp. 23, 37–42.
  8. Roller (2010), pp. 15–16, 164–166.
  9. ^ Jones (2006), p. xiii.
  10. Dodson & Hilton (2004), p. 273.
  11. Roller (2010), p. 18.
  12. Burstein (2004), pp. 11, 75.
  13. ^ Grant (1972), p. 5.
  14. ^ Fletcher (2008), pp. 56, 73.
  15. McGing (2016).
  16. Lendering (2020).
  17. Fletcher (2008), p. 73.
  18. Burstein (2004), pp. 69–70.
  19. Schiff (2011), pp. 2, 42.
  20. Roller (2010), pp. 15, 18, 166.
  21. Bradford (2000), p. 17.
  22. ^ Grant (1972), p. 4.
  23. ^ Roller (2010), p. 165.
  24. Burstein (2004), pp. 11, 69.
  25. Roller (2010), pp. 18–19.
  26. Dodson & Hilton (2004), pp. 268–269, 273.
  27. Fletcher (2008), p. 76.
  28. Whitehorne (1994), p. 182.

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Cleopatra Ptolemaic dynastyBorn: 69 BC Died: 30 BC
Regnal titles
Preceded byPtolemy XII Pharaoh of Egypt
51–30 BC
with Ptolemy XIII,
Ptolemy XIV, and
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Office abolished
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Hellenistic rulers were preceded by Hellenistic satraps in most of their territories.
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Protodynastic to First Intermediate Period  (<3150–2040 BC)
Period
Dynasty
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    • female
  • uncertain
Protodynastic
(pre-3150 BC)
Lower
Upper
Early Dynastic
(3150–2686 BC)
I
II
Old Kingdom
(2686–2181 BC)
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V
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1 Intermediate
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VII/VIII
IX
X
Middle Kingdom and Second Intermediate Period  (2040–1550 BC)
Period
Dynasty
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  • uncertain
Middle Kingdom
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Nubia
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Abydos
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XVIII
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XX
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XXI
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Middle Kingdom and Second Intermediate Period  (2040–1550 BC)
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Middle Kingdom
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2 Intermediate
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XVII
New Kingdom and Third Intermediate Period  (1550–664 BC)
Period
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New Kingdom
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XVIII
XIX
XX
3 Intermediate
(1069–664 BC)
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XXV
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