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This painted limestone statue is considered one of the oldest statues made in the form of the sphinx for one of the ancient Egyptian queens.
It is attributed to queen Hetepheres II, a daughter of King Khufu or the wife of King Djedefre, a royal princess of Egypt during the fourth dynasty, who became the queen of Egypt.
The statue was found at the site of the pyramid of Djedefre at Abu Rawash. He was a half-brother of hers who married her to become pharaoh after her earlier husband, Kawab, died.
This rare form statue of the queen may indicate her assumption of the throne, which indeed expressed the Egyptians, appreciation for women, and their reverence for her as a mother, a sister, a wife, a ruler and a goddess as well.
Limestone and plaster
Old Kingdom, 4th dynasty
Abu Rawash
(JE35137)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
High relief sculpted statues of Ramses II-Amon between anthropomorphic Atoum and Khepri at the bottom of a monolith naos sitting side by side, hands on knees, common bench seat as a throne.
Provenance: Tanis, Large Temple, North naos, between the third and fourth pairs of obelisks
Red sandstone
JE 37475 = CG 70003
(Catalogue de la statuaire royale de la XIXe dynastie,
Hourig Sourouzian)
Egyptian Museum, Cairo
Lightbox here : www.flickr.com/photos/brancusi/8381278321/in/photostream/...
but if you still seek the invisible then reach further and click Fullscreen at top right.
High relief sculpted statues of Ramses II-Amon between anthropomorphic Atoum and Khepri at the bottom of a monolith naos sitting side by side, hands on knees, common bench seat as a throne.
Provenance: Tanis, Large Temple, North naos, between the third and fourth pairs of obelisks
Red sandstone
JE 37475 = CG 70003
Egyptian Museum, Cairo
Detail of a Roman general riding down a pleading Germanic warrior on the Portonaccio Battle Sarcophagus, AD 180-190. Note the unfinished face of the general.
"Clearly the sarcophagus was cut and remained near-completed in the sculptor's workshop until its eventual patron should purchase it, even perhaps before his family chose it. The fact that the features of the protagonist were never cut may imply that - despite all the indications of the iconography - someone quite different from a distinguished soldier was ultimately buried there." Jas Elsner, Imperial Rome and Christian Triumph (Oxford 1998), p. 146.
Palazzo Massimo, Rome. Photographed in 1998 with a Ricoh R1.
Detail from the top of the inlaid seat of the ceremonial chair of Tutankhamun. It is spotted to imitate an animal skin, perhaps of a leopard.
Ebony, gold, ivory, glass
New Kingdom, 18th dynasty
Valley of the Kings, Tomb of Tutankhamun KV62
JE 62030=SR1/1067=Carter 351
Egyptian Museum, Cairo
La cattedrale di San Zeno si trova in piazza del Duomo a Pistoia.
Dedicata a San Zeno, presenta una facciata in stile romanico sul modello di altre chiese presenti nella città costruite alla stessa epoca (San Bartolomeo e Sant'Andrea). Sulle due estremità della cuspide della facciata sono poste le due statue marmoree dei santi patroni, San Zeno e San Jacopo.
L'edificio, con campanile e battistero ha interno a tre navate con presbiterio rialzato e cripta, ed è stato costruito probabilmente nel X secolo. Nel corso del tempo ha subìto diversi rimaneggiamenti ed è stato riportato alle forme primitive da un restauro avvenuto tra il 1952 e il 1966, completato nel 1999.
Fonte: Wikipedia.
The Cathedral of Pistoia (also Duomo di Pistoia' or Cattedrale di San Zeno) is the main religious building of Pistoia, Tuscany, central Italy, located in the Piazza del Duomo in the city's centre.
Built most likely in the 10th century, it has a façade in Romanesque style, inspired by other churces in Pistoia (San Bartolomeo and San Jacopo). The interior has a nave and two aisles, with a presbytery and crypt. A restoration held in 1952-1999 brought the church to its original lines.
From Wikipedia.
This statuette is one of a pair featuring King Tutankhamun on the back of a leopard. The king is shown standing with his left leg forward on a rectangular pedestal fixed to the back of the leopard.
He holds a long staff in one hand and the flail in the other. The king is wearing the White Crown of Upper Egypt with a cobra on his forehead and a large collar that covers his chest and shoulders and terminates with a row of drop beads.
A tight-fitting loincloth tied at the front and incised with fine lines covers his lower body. He is wearing sandals.
The exaggeration of the king's features shows the influence of the Amarna style of art.
JE 60715
Egyptian Museum, Cairo
The third of Tutankhamun's shrines is of similar design to the second, with a sloping roof and somewhat smaller dimensions. It is gilded over its entire surface and decorated in sunk relief with vignettes and extracts from Egyptian religious texts. The sides of the shrine are inscribed with abridged versions of the second and sixth divisions of the Book of What Is in the Underworld (the Amduat).
The outer faces of the doors and back panel of the shrine are inscribed with extracts from spell 148 of the Book of the Dead, and carry representations of four ram-headed guardian figures and four heralds, each grasping one or two knives and variously represented as human-headed, antelope-headed of crocodile-headed.
Egyptian Museum, Ciro
The footrest of the throne of Tutankhamun is constructed of heavy wood, gessoed, gilded and inlaid with blue faience and yellow stone. The top surface carries a design consisting of three Nubians and three Asiatics, the chieftains of 'all foreign lands (who) are under his (the king's) feet'.
Egyptian Museum, Cairo
The Cairo Museum, Egypt
During ancient Egypt the golden throne was a symbol of power and a show of social status. This amazing piece of furniture is the most prestigest of all the thrones discovered from the ancient society. It was found in the Annexe area of Tutankhaman's tomb. It was constructed with the most finest materials such as gold to create this amazing art.
It was gold and silver in colour with an image in the centre of the throne showing Tutankhamun and his wife connected with the arms of Aten in and Amarna art style. The golden throne displays both the Aten and Amun names of Tutankhamun and his wife. There are also two traditional lions places at the front of the arm rests as well as lion like feet for the legs of the chair. On either side of the chair was a winged cobra who wears a crown. As well as hieroglyphics and cartouches are also places of the pharaoh on the golden throne.
The golden throne of Tutankhamun was predominantly made out of wood and it is entirely covered in a layer of pure gold as well as partical areas of silver included in the throne. Features of the throne included tiles of coloured semi-precious stones, coloured glass in addition faience.
It is used to highlight Tutankhamun's power and authority as he was the pharaoh during the time and held the most power. It was possibly also used to show Tutankhamun's love and connection for his wife Ankhesnamun as well his strong religious beliefs.
The golden throne was a symbol of status and authority as well as power. It enforces the fact that Tutankhamun was high in power , wealthy and also that he was an important part in the ancient Egyptian society. The golden throne shows Tutankhamun and his wife Ankhesnamun pouring perfume, show depicts the relationships and connections he had to his wife and how she was respected to Tutankhamun. Under the rays Aten the sun god showing their religious beliefs. It also shows the gods that they believed in and how they paid respect and worshiped their gods. As well as representing the art forms used during the periods which is Amarna art from his father Akhenaten.
Text: Tutankhamun's World
Outside on the door panels, infernal spirits grasping knives stand guard. They are evocations of the 147th chapter of The Book of the Dead describing the gates of the other world. The inside door panels are again decorated with Isis and Nephthys.
Egyptian Museum, Cairo
Cats were probably originally honoured for their mouse-hunting skills, but their popularity grew due to their association with the goddess Bastet. Bastet was usually depicted as a cat or a cat-headed woman. The centre of her worship was the city of Bubastis (Bast in the Egyptian language). On this site, archaeologists have found the huge necropolis for cats associated with the temple of the goddess.
Organic material, linen
Late Period - Greek Period
Provenance unknown
Cat. 2349/5 Museo Egizio
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Discovered from the tomb of the high courtier Hemaka, these disks are thought to have been placed on top of a wooden pin and spun around.
Schist and limestone
From Saqqara, tomb of Hemaka
1st dynasty, reign of Den
NMEC National Museum of Egyptian Civilization, Cairo
The Cairo Museum, Egypt
During ancient Egypt the golden throne was a symbol of power and a show of social status. This amazing piece of furniture is the most prestigest of all the thrones discovered from the ancient society. It was found in the Annexe area of Tutankhaman's tomb. It was constructed with the most finest materials such as gold to create this amazing art.
It was gold and silver in colour with an image in the centre of the throne showing Tutankhamun and his wife connected with the arms of Aten in and Amarna art style. The golden throne displays both the Aten and Amun names of Tutankhamun and his wife. There are also two traditional lions places at the front of the arm rests as well as lion like feet for the legs of the chair. On either side of the chair was a winged cobra who wears a crown. As well as hieroglyphics and cartouches are also places of the pharaoh on the golden throne.
The golden throne of Tutankhamun was predominantly made out of wood and it is entirely covered in a layer of pure gold as well as partical areas of silver included in the throne. Features of the throne included tiles of coloured semi-precious stones, coloured glass in addition faience.
It is used to highlight Tutankhamun's power and authority as he was the pharaoh during the time and held the most power. It was possibly also used to show Tutankhamun's love and connection for his wife Ankhesnamun as well his strong religious beliefs.
The golden throne was a symbol of status and authority as well as power. It enforces the fact that Tutankhamun was high in power , wealthy and also that he was an important part in the ancient Egyptian society. The golden throne shows Tutankhamun and his wife Ankhesnamun pouring perfume, show depicts the relationships and connections he had to his wife and how she was respected to Tutankhamun. Under the rays Aten the sun god showing their religious beliefs. It also shows the gods that they believed in and how they paid respect and worshiped their gods. As well as representing the art forms used during the periods which is Amarna art from his father Akhenaten.
Text: Tutankhamun's World
Combs were used for multiple purposes. This includes combs being used as status symbols, as decoration for the hair, and as tools.
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Two "Shabti" statues, which are small funerary statues usually found in cemeteries, also known as the "Shawabti" meaning "Respondents". The purpose of these statues in the tomb is to work in the afterlife rather than the owner of the tomb.
Hieroglyphic texts are usually carved on the statues bearing the name of the owner of the tomb or excerpts from the Book of the Dead.
Antiquities Museum of Bibliotheca Alexandrina
Nakht was an Ancient Egyptian official who held the position of a scribe and astronomer of Amun, probably during the reign of Thutmose IV in the Eighteenth Dynasty. He is buried in the Theban Necropolis in tomb TT52. WIKIPEDIA
Image scene: Female guests at the funural banquet of Nakht, a scribe and astronomer ("hour priest") of the Amun temple at Karnak, in a painted scene from his tomb at Abd el-Qurna in western Thebes. The women's clothes and jewelry are similar to those portrayed in the tomb of Ramose. In his role, Nakht, who lived during the reigns of Thutmose IV and Amenhotep III, was responsible for examining the stars and fixing the most favorable times for important rituals. /The civilization of Ancient Egypt
La chiesa di San Francesco.
Fu costruita tra il 1280 e il 1307. La facciata in cotto, rimasta incompiuta poco sopra il rosone marmoreo, è caratterizzata da un alto protiro e da due bifore "a cielo aperto" che rappresentano il primo esempio di una soluzione architettonica che si diffuse in tutta l'Italia del nord. L'interno, a tre navate e a croce latina, è decorato da numerosi affreschi risalenti ai secoli compresi tra il Trecento ed il Settecento; la chiesa ospita inoltre le spoglie di alcuni lodigiani illustri, tra cui il librettista Francesco De Lemene, la poetessa Ada Negri ed il naturalista Agostino Bassi.
Da "Vespertina":
Dal vano delle due bifore ancora
sorride il cielo con pupille azzurre
sulla facciata del mio San Francesco:
sguardo di bimbo in tormentato volto
di vegliardo che tutto a me perdona...
(Ada Negri)
(fonte: Wikipedia)
San Francesco is a church in Lodi, Lombardy, northern Italy, dating to the late 13th century. Its main peculiarity are the two "open sky" double mullioned windows in the façade, which are the first example of a model often repeated in northern Italy in the 14th and 15th centuries.
The church has an unfinished façade in cream-color brickwork, charactersized by a tall ogival cusped portico, also in brickwork. This is flanked by two blind columns and surmounted by a large rose window in white marble, in turn sided by two double ogival mullioned windows.
The wide interior is on the Latin cross plan, divided into a nave and two aisles with four spans each; there are also side chapels. The nave and the aisles are cross-vaulted, separated by ogival arches supported by large brickwork columns. Walls and columns are decorated by numerous frescoes dating from the 14th to the 18th century; among the many 14th century ones, particularly renowned are the Madonna with Child, Saints and Donor from an unknown Lombar master.
The church house the sepultures of several notable people, such as the poet Ada Negri and the naturalist Agostino Bassi.
From "Vespertina":
Dal vano delle due bifore ancora
sorride il cielo con pupille azzurre
sulla facciata del mio San Francesco:
sguardo di bimbo in tormentato volto
di vegliardo che tutto a me perdona...
(Ada Negri)
(source: Wikipedia)
(meglio in grande - best on large)
È possibile che già dal V secolo esistesse una chiesa cattedrale (di dimensioni minori) a Pistoia. Già all'epoca, infatti, la città aveva un proprio vescovo. Tuttavia non si sa ancora quale fosse la sua ubicazione, se nello stesso luogo dell'attuale o sul luogo ove ora sorge la pieve di Sant'Andrea, oppure nella zona in cui venne edificato il complesso monastico di San Pier Maggiore (Memoreto), in considerazione della consuetudine di costruire la cattedrale in prossimità del cimitero (memoretum).
La prima attestazione scritta della cattedrale risale al 923, quando in un atto notarile del conte Cunerad di Teudicio venne citata una Ecclesia SS.Zenonis, Rufinis et Felicis. Nel 998 inoltre un diploma di Ottone III citò un edificio paleocristiano situato tra la via "regia" (cioè tra piazza del Duomo, via Stracceria e via degli Orafi) e la torre di guardia. Nel 1108 la chiesa fu danneggiata da un incendio e probabilmente ricostruita nei primi decenni del XII secolo. Risale al 1145 infatti la consacrazione dell'altare dedicato a san Jacopo da parte del vescovo Atto.
Nel 1202 un altro incendio danneggiò la cattedrale. Tra il 1274 e il 1275 le navate laterali furono coperte da volte (il che fa pensare che prima dovessero avere una copertura a capriate lignee). Nel 1298 l'edificio subì alcuni danni dovuti ad un terremoto e nel 1336 circa venne sistemata sulla facciata la statua di San Zeno vescovo, opera di Jacopo di Mazzeo.
Tra il 1379 e il 1449 la facciata fu rimaneggiata con l'aggiunta di tre ordini di logge e di un portico; nel 1504 ad Andrea della Robbia fu commissionata la decorazione dell'archivolto, a festone vegetale con al centro lo stemma dell'Opera di San Jacopo, e quella a lacunari di color azzurro con rosoni dorati che rivestono la volta centrale del portico, nonché la lunetta a bassorilievo sulla porta centrale raffigurante la Madonna col Bambino e Angeli, opere che egli portò a termine nel 1505.
(fonte: Wikipedia)
It is possible that since the fifth century there was a cathedral church (smaller) in Pistoia. Already at the time, in fact, the city had its own bishop. However, no one knows yet what was its location, if the current or in the same place where now stands at the parish of St. Andrew, or was built in the area where the monastery of San Pier Maggiore (Memoreto), in Given the habit of building the cathedral near the cemetery (memoretum).
The first written attestation of the cathedral dates from 923, when a deed of the Count Cunerad of Teudicio was quoted a SS.Zenonis Ecclesia, et Rufinis Felicis. In 998 Otto III also cited a diploma in early Christian building located between the way "direction" (ie, between Piazza del Duomo, by way of the tear and Goldsmith) and the watchtower. In 1108 the church was damaged by fire and probably rebuilt in the early decades of the twelfth century. Dates back to 1145 because the consecration of the altar dedicated to St. James by the Bishop Act.
In 1202 another fire damaged the cathedral. Between 1274 and 1275 the side aisles were covered by time (which suggests that first had to have a wooden trusses). In 1298 the building suffered some damage due to an earthquake and in 1336 was arranged around the statue on the facade of San Zeno bishop, by Jacopo of Mazzeo.
Between 1379 and 1449 the facade was altered by the addition of three tiers of balconies and a porch in 1504 to Andrea della Robbia was commissioned the decoration dell'Archivolto to festoon plant with a central crest of the Opera St. James, and the lacunar-colored blue with golden rosettes lining the central vault of the porch, and the lunette in low relief on the front door of the Madonna and Child with Angels, works which he completed in 1505.
(source: Wikipedia)
Some of the sacrificial rituals depicted in fragments were successfully identified, and the naos has rebuilt by placing 50 identified fragments in their original places in the reconstruction. A fully preserved naos would have depicted the succession of the god cult's daily rituals.
Red and black granite
19th dynasty
Provenance Heliopolis
S. 2676 Museo Egizio
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Tomb (TT55) of Ramose, c. 1411-1375 BCE
A painted scene in the tomb of Ramose showing funerary goods including cases for shabtis, perfume jars, stools, and pair of sandals being born in procession to his tomb. In the middle, women mourners lament the deceased. Despite its rich decoration, Ramose's tomb was unfinished and he was not buried there. /The civilisation of Ancient Egypt
This foot is not part of a larger statue, but probably a votive gift given to Serapis or Isis. Isis appears as a snake with a human head and breast. The head of the Isis has been destroyed. On the other side of the foot is Serapis with a plush beard and curly hair - also with a snake body. Harpocrates is behind the foot holding the horn of plenty.
Together, these three gods made up the most worshipped god triad of the Roman Period, but with roots that go far back to the early times of Pharaonic Egypt.
Marble
Roman Period
Provenance Caesareum, Alexandria
S. 17137 Museo Egizio
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
The 5000 year old Narmer Palette in the Egyptian Museum, Cairo. It is one of the earliest depictions of an Egyptian King.
The arched harp (shoulder harp) was a common musical instrument in ancient Egypt and was often decorated with colourful motifs on its outer surface. Harps, together with percussion instruments, were very popular and were used in both sacred and secular contexts.
Wood
New Kingdom, 19th dynasty
Provenance Luxor
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Mummy of a woman with a portrait
2nd century AD
In the Roman period "mummy portraits", often using the wax encaustic technique, were painted on wooden panels. these depict a slightly idealized, but compelling, portrait of the deceased, with clearly datable elements such as hairstyles, jewellery and elements of clothing. These would be placed over the face in the outermost layer of bandages. These panels are often known as Fayum portraits, as the first excavated examples came from the site in that area, although they have subsequently been found all over Egypt. Mummy portraits are also sometimes painted on linen shrouds that are reinforced within a thin layer of plaster.
(Salima Ekram, Death and Burial in Ancient Egypt)
Egyptian Museum, Cairo
The Theban Tomb TT55 is located in Sheikh Abd el-Qurna, part of the Theban Necropolis, on the west bank of the Nile, opposite to Luxor. It is the burial place of the Ancient Egyptian Vizier, Ramose. It has a main room originally containing 32 columns and a corridor with 8 columns. This tomb is notable for the high quality decorations in both the traditional and Amarna styles.
WIKIPEDIA
Ramose was vizier during the reign of Amenhotep III, and perhaps for a time under his successor, the religious reformer Amenhotep IV, who was to change his name to Akhenaton. Ramose's tomb shows a clear transition from the artistic standards of the reign of Amenhotep III to the yet more mannered art of the Amarna period, and its carved walls are widely and justly admired for the exquisite beauty of their reliefs. The scene pictured here, in the more restrained and elegant style that predates the Amarna period, depicts two close relations of Ramose--the Overseer of the Horses of the Lord of the Two Lands, the Royal Messenger in All Countries, May, and his wife, Werel. Particularly noteworthy is the contrast between the gem-like cutting of the wig curls and the uncarved swelling of the orbs of the eyes, which are highlighted only in black paint.
THE ORIENTAL INSTITUTE CHICAGO
Handmade ceramic mural in NYC, Manhattan, on Lafayette Street for Aurelie Biederman Jewelery.
Thanks to modkraft for the opendoor&mind.
This casket is made of coniferous wood and ornamented with broad rails and styles of veneered ivory. Its panels formed by the rails and styles are decorated with an applied fretwork of gilt wood symbols - ankh, was and neb signs - a formula meaning 'All life and good fortune'. The gilding of these open-work symbols in contrast to the dark brown colour of the basic wood and the white ivory rails and styles gives a very rich and elegant effect.
Each rail and style is engraved with a bold hieroglyphic script, filled in with black pigment, which gives the titulary consisting of the five 'Great names' assumed by the king on his accession; namely 'the Horus name', 'the Nebty-name', 'the Golden Horus-name', the Prenomen and Nomen. The Queen's cartouche and her titles are also included on one of the rails.
The four square feet upon which the casket stands are shod with silver caps. The interior of this casket is divided into sixteen rectangular compartments evidently made to receive a similar number of gold or silver vessels for cosmetics. These were all missing - pilfered - and in their places were cast a small rush basket, a stained ivory bowl, two palettes, and ivory and gold burnisher, an ornamental case for writing-reeds, and an empty mirror-case, all of which obviously came from some other box or casket.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 61476
Egyptian Museum, Cairo
The enemies (Syrians on one side and Nubians on the other) are shown in a chaotic and confused mass of chariots, soldiers and horses.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 61467
Egyptian Museum, Cairo
Naos is a small religious shrine. It was used as a portable shrine to carry a god. The headless figurine lying on top of the naos model is probably shrew.
Limestone
Late Period
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
This casket is made of coniferous wood and ornamented with broad rails and styles of veneered ivory. Its panels formed by the rails and styles are decorated with an applied fretwork of gilt wood symbols - ankh, was and neb signs - a formula meaning 'All life and good fortune'. The gilding of these open-work symbols in contrast to the dark brown colour of the basic wood and the white ivory rails and styles gives a very rich and elegant effect.
Each rail and style is engraved with a bold hieroglyphic script, filled in with black pigment, which gives the titulary consisting of the five 'Great names' assumed by the king on his accession; namely 'the Horus name', 'the Nebty-name', 'the Golden Horus-name', the Prenomen and Nomen. The Queen's cartouche and her titles are also included on one of the rails.
The four square feet upon which the casket stands are shod with silver caps. The interior of this casket is divided into sixteen rectangular compartments evidently made to receive a similar number of gold or silver vessels for cosmetics. These were all missing - pilfered - and in their places were cast a small rush basket, a stained ivory bowl, two palettes, and ivory and gold burnisher, an ornamental case for writing-reeds, and an empty mirror-case, all of which obviously came from some other box or casket.
Valley of the Kings, Tutankhamun's tomb KV62
18th dynasty
JE 61476
Egyptian Museum, Cairo
Lotus blossoms, open and in the bud, are represented in low relief on the forehead of Isis. The lotus flower was a symbol of rebirth.
New Kingdom, 19th dynasty
Tomb of Sennedjem TT1, Deir el-Medina
(JE 27309)
NMEC National Museum of Egyptian Civilization, Fustat Cairo
Mummy of a woman with a portrait
2nd century AD
Fayum mummy portraits showed the deceased as in life. The details of hairstyle, jewellery and clothing help to date these portraits and provide information about their rank and status.
Egyptian Museum, Cairo
Detail of an Attic stamnos attributed to a follower of Makron, c. 475-425 BC. In the National Museum of Scotland, Edinburgh, UK. Snapseed edit.
www.carc.ox.ac.uk/record/0B1F6003-664E-467C-A849-9A54F348...
Stonehenge in Wiltshire, photographed at A303, Salisbury by Joel Morin. ALL RIGHTS RESERVED - No rights granted unless in writing by Joel Morin
The School of Athens
Raphael, 1509–1510
Fresco, 500 × 770 cm
Vatican City, Apostolic Palace
In the middle of the image is Plato pointing upwards, flanked by Aristotle. Pythagoras is on the foreground, diogenes, lying on the stairs with a dish, Michelangelo -- leaning against a block of marble writing something on paper. During the time when Rafael was painting this, Michelangelo was at the nearby Sistine Chapel painting its ceiling. Partly shown on the right(too bad I had to crop this part as I intend to exclude the arch in the framing -- is Euclic -- teaching geometry to his pupils. Shown in the image also is Zoroaster and Ptolemy.
This is one of Raphael's greatest works -- on a Fresco, in a room now called in memory of his name Raphael's Room -- Room of the Signature.
And by the way... these series of painting shots -- are shots of the originals -- in case you're wondering.
Room of the Signature
Raphael's Rooms
Vatican City, Apostolic Palace
Rome, Italy
Caligula & Caesonia Æ 28 of Carthago Nova, Spain. C CAESAR AVG GERMANIC IMP P M TR P COS, laureate head right / CN ATEL FLAC CN POM FLAC II VIR Q V I N C, SAL-AVG across field, head of Caesonia right. SGI 419.
If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:
Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/
The Portraiture of Caligula- Joe Geranio- Administrator- at
Both are non-profit sites and for educational use only.For more on Caligulan Numismatic Articles see: Coins courtesy cngoins.com
Related Articles of Caligula from American Numismatic Society Library Search
Library Catalog Search (Preliminary Version)
Full Record: Barrett, Anthony A. The invalidation of currency in the Roman Empire : the Claudian demonetization of Caligula's AES. (1999)
Full Record: Bost, Jean-Pierre. Routes, cits et ateliers montaires : quelques remarques sur les officines hispaniques entre les rgnes d'Auguste en de Caligula. (1999)
Full Record: Bibliothque Municipale d'Etude et d'Information de Grenoble. Grenoble : Bibliothque Municipale d'Etude et d'Information : catalogue des monnaies. II. Monnaies romaines. Monnaies impriales romaines. 2. Caligula - Neron . Index. / Bernard Rmy, Frdric Bontoux, Virginie Risler. (1998)
Full Record: Gainor, John R. The image of the Julio-Claudian dynasty from coins / by John R. Gainor.
Full Record: Martini, Rodolfo. Monete romane imperiali del Museo G. B. Adriani. Parte 3, Caius (37-41 d.C.) / Rodolfo Martini. (2001)
Full Record: ACCLA privy to presentation by Richard Baker on Caligula. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 1. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 2. (2002)
Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 3. (2002)
Full Record: Kemmers, Fleur. Caligula on the Lower Rhine : Coin finds from the Roman Fort of Albaniana (The Netherlands) / Fleur Kemmers. (2004)
Full Record: Estiot, Sylviane. Le trsor de Meussia (Jura) : 399 monnaies d'argent d'poques rpublicaine et julio-claudienne / Sylviane Estiot, Isabelle Aymar. (2002)
Full Record: Gocht, Hans. Namenstilgungen an Bronzemünzen des Caligula und Claudius / Hans Gocht. (2003)
Full Record: Gomis Justo, Marivi. Ercavica : La emision de Caligula. Estimacion del numero de cunos originales.
Full Record: Sayles, Wayne G. Fakes on the Internet. (2002)
Full Record: Kemmers, Fleur. The coin finds from the Roman fort Albaniana, the Netherlands / Fleur Kemmers . (2005)
Full Record: Lopez Snchez, Fernando. La afirmacion soberana de Caligula y de Claudio y el fin de las acunaciones ciudadanas en occidente / Fernando Lopez Snchez. (2000)
Full Record: Besombes, Paul-Andr. Les monnaies hispaniques de Claude Ier des dpôts de la Vilaine (Rennes) et de Saint-Lonard (Mayenne) : tmoins de quel type de contact entre l'Armorique et la pninsule ibrique ? / Paul-Andr Besombes. (2005)
Full Record: Catalli, Fiorenzo. Le thesaurus de Sora / Fiorenzo Catalli et John Scheid.
Full Record: Giard, Jean-Baptiste. Faux deniers de Caligula de la Renaissance.
Full Record: Vermeule, Cornelius. Faces of Empire (Julius Caesar to Justinian). Part II(B), More young faces : Caligula again and Nero reborn / Cornelius Vermeule. (2005)
Full Record: Geranio, Joe. Portraits of Caligula : the seated figure? / Joe Geranio. (2007)
Full Record: Aguilera Hernandez, Alberto. Acerca de un as de Caligula hallado en Zaragoza / Alberto Aguilera Hernandez. (2007)
Full Record: Butcher, K. E. T. Caligula : the evil emperor. (1985)
Full Record: Fuchs, Michaela. Frauen um Caligula und Claudius : Milonia Caesonia, Drusilla und Messalina. (1990)
Full Record: Faur, Jean-Claude. Moneda de Caligula de Museo Arqueologico Provincial de Tarragona. (1979)
Full Record: British Museum. Dept. of coins and medals. Coins of the Roman Empire in the British museum. Vol. I: Augustus to Vitellius / by Harold Mattingly. (1976)
Full Record: Conrad, Edwin. A Caligula Isotope of Hadrian. (1968)
Full Record: Conrad, Edwin. The Metamorphosis of an Allegad 'As of Hadrian.' (1968)
Full Record: Bendall, Simon. A 'new' gold quinarius of Caligula. (1985)
Full Record: Cortellini, Nereo. Le monete di Caligola nel Cohen.
Full Record: Guey, Julien. Les "bains d'or" de Caligula "Immensi Avreorvm Acervi (Sutone, Cal., 42,3).
Full Record: Guey, J. Les "bains d'or" de Caligula : Sutone, Cal. 42, 3.
Full Record: Curry, Michael R. The Aes Quadrans of Caligula. (1968)
Full Record: Jonas, Elemr. L'emploi dar "damnatio memoriae" sur l'un des "dupondius" de Calgula. (1937)
Full Record: Julian, R. W. The coins of Caligula. (1994)
Full Record: Donciu, Ramiro. Cu privire la activitatea militara a lui Caius (Caligula) in anul 40 e.n. (1983)
Full Record: Hansen, Peter. A history of Caligula's Vesta. (1992)
Full Record: Kaenel, Hans-Markus von. Augustus, Caligula oder Caludius? (1978)
Full Record: Kaenel, Hans-Markus von. Die Organisation der Münzprgung Caligulas. (1987)
Full Record: Johansen, Flemming S. The sculpted portraits of Caligula. (1987)
Full Record: Carter, G. F. Chemical compositions of copper-based Roman coins. V : imitations of Caligula, Claudius, and Nero / G. F. Carter and others. (1978)
Full Record: Giard, Jean-Baptiste. L'atelier de Lyon sous Auguste : Tibre et Caligula. (1979)
Full Record: Giard, Jean-Baptiste. Les missions d'or et d'argent de Caligula dans l'atelier de Lyon. (1976)
Full Record: Giard, Jean-Baptiste. Le monnayage de l'atelier de Lyon des origines au rgne de Caligula (43 avant J.-C. - 41 aprs J.-C.). (1983)
Full Record: Nony, D. Quelques as d'imitation de Caligula trouves a Bordeaux (Gironde). (1981)
Full Record: Levy, Brooks Emmons. Caligula's radiate crown. (1988)
Full Record: Poulsen, Vagn. Un nouveau visage de Caligula. (1972)
Full Record: Price, Martin Jessop. Elephant in Crete? New light ona cistophorus of Caligula. (1973)
Full Record: MacInnis, H. Frank. Ego-driven emperor commits excesses. (1979)
Full Record: McKenna, Thomas P. The case of the curious coin of Caligula : a provincial bronze restruck with legend-only dies. (1994)
Full Record: Mowat, Robert. Bronzes remarquables de Tibre, de son fils, de ses petits-fils et de Caligula. (1911)
Full Record: Koenig, Franz E. Roma, monete dal Tevere : l'imperatore Gaio (Caligola). (1988)
Full Record: Kollgaard, Ron. Caligula's coins profile despot. (1993)
Full Record: Kollgaard, Ron. A numismatic mystery : "the Caligula quadrans." (1994)
Full Record: Martini, Rodolfo. Osservazioni su contromarche ed erosioni su assi de Caligula. (1980)
Full Record: Szaivert, Wolfgang. Moneta Imperii Romani. Band 2 und 3. Die Münzprgung der Kaiser Tiberius und Caius (Caligula) 14/41 / von Wolfgang Szaivert. (1984)
Full Record: Boschung, Dietrich. Die Bildnisse des Caligula. Kaenel, Hans-Markus von. Jucker, Hans. Deutsches Archaologisches Institut. Das Romische Herrscherbild. 1. Abt., Bd. 4, Die Bildnisse des Caligula / Dietrich Boschung ; mit einem Beitrag von Hans-Markus von Kaenel ; auf Grund der Vorarbeiten und Marterialsammlungen von Hans Jucker. (1989)
Full Record: Rosborough, Ruskin R. An epigraphic commentary on Suetonius's life of Gaius Caligula. A thesis...for the...Doctor of Philosophy. (1920)
Full Record: Richard, Jean-Claude. A propos de l'aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Richard, Jean-Claude. Un aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)
Full Record: Ritter, Hans-Werner. Adlocutio und Corona Civica unter Caligula und Tiberius. (1971)
Full Record: Kumpikevicius, Gordon C. A numismatic look at Gaius. (1979)
Full Record: Savio, Adriano. La coerenza di Caligola nella gestione della moneta / Adriano Savio. (1988)
Full Record: Savio, Adriano. Note su alcune monete di Gaio-Caligola. (1973)
Full Record: Stylow, Armin U. Die Quadranten des Caligula als Propaganda-münzen.münzen" aus der stdtischen sammlung zu Osnabrück. (1971)
Full Record: Schwartz, Jacques. Le Monnayage Snatorial entre 37 et 42 P.C. (1951)
Full Record: Rodolfo Martini, ed. Sylloge nummorum Romanorum. Italia. Milano, Civiche Raccolte Numismatiche Vol. 1 Giulio-Claudii / a cura di Rodolfo Martini. (1990)
Full Record: Szaivert, Wolfgang. Zur Julisch-Claudischen Münzprgung. (1979)
Full Record: Vedrianus. The Roman Imperial series. V. Gaius. (1963)
Full Record: Tietze, Christian M. Kaiser Cajus Caesar, genannt Caligula. (1979)
Full Record: Wood, Susan. Diva Drusilla Panthea and the sisters of Caligula / Susan Wood. (1995)
Full Record: Sutherland, Carol Humphrey Vivian. Coinage in Roman imperial policy 31 B.C.-A.D. 68. (1951)
Full Record: Sutherland, C. H. V. The mints of Lugdunum and Rome under Gaius : an unsolved problem. (1981)
Full Record: Trillmich, Walter. Familienpropaganda der Kaiser Caligula und Claudius : Agrippina Maior und Antonia Augusta auf Münzen. (1978)
Full Record: Voirol, August. Eine Warenumsatzsteuer im antiken Rom und der numismatische Beleg inher Aufhebung : Centesima rerum venalium. (1943)
Full Record: Trillmich, Walter. Zur Münzprgung des Caligula von Caesaraugusta (Zaragoza). (1973)
Particolare della pavimentazione della Reggia di Caserta.
Detail of the pavement of the Royal Palace.
Three paintings of Anubis - the Egyptian god of the funerary rights - on the wall on a tomb at Deir El-Medina in the Theban Necropolis, Luxor, Egypt.
SERGIEV-POSAD – The Heart of Russian Orthodox Church. 2018.
СЕРГИЕВ ПОСАД – Сердце Русский Православной Церкви.
Naos is a small religious shrine. It was used as a portable shrine to carry a god. The headless figurine lying on top of the naos model is probably shrew.
Limestone
Late Period
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021
Some of the sacrificial rituals depicted in fragments were successfully identified, and the naos has rebuilt by placing 50 identified fragments in their original places in the reconstruction. A fully preserved naos would have depicted the succession of the god cult's daily rituals.
Red and black granite
19th dynasty
Provenance Heliopolis
S. 2676 Museo Egizio
Egypt of Glory exhibition, Amos Rex Art Museum, Helsinki
From the collection of Museo Egizio, Turin, Italy
9.10.2020-21.3.2021