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Hollow iron Buddha, his oval face with a contemplative expression, delicately arched eyebrows, elongated earlobes, a circular urna to the forehead, heavy-lidded almond shaped eyes downcast in meditation, small bow shaped mouth recessed at the corners, the hair in rows of small spiral shaped curls surmounted by a domed usnisa. Rust patina. 1700's AD (11" x 13 ½" )
Hydria: demon of death. Vulci, Italy. Clay, 520-500 BC (Micali Painter?) Taken at the Altes Museum in Berlin.
Nióbide corriendo.
Vaciado en yeso de XVII de escultura ¿griega helenística?.
Exposición "Velázquez. Esculturas para el alcázar."
Real Academia de Bellas Artes de San Fernando.
201-300 AD, Tomb 86, Isola Sacra Necropolis.
D(is) M(anibus) / Stedia Thyrannis / posita cum matre et / patre
1st c. AD, Gloucester.
He was a horseman of the Cohors VI Thracum.
Rufus Sita, eques Cohortis VI
Thracum, annorum XL, stipendiorum XXII.
Heredes ex testamento faciendum curaverunt.
Hic situs est.
Gloucester Museum.
Oxford. Ashmolean Museum. Lècitos àtic de figures roges. Triptòlem puja a un carro alat per difondre l'agricultura.
The Mandapeshwar caves perhaps have the most tumultuous history of all the Mumbai caves, or so it would seem from the scars the walls still bear. A Hindu temple, it was targeted by the Portuguese, who asserted their religious beliefs over it by literally building a monastery and a church dedicated to Our Lady of Immaculate Conception on top of the cave temple. Fr. Porto founded the monastery and church in 1544.The Mandapeshwar caves were hewn out of a hillock about 1,600 years ago. At one time, the Dahisar river ran in front of it, but over time the course of the river changed and the caves now face a main road.In the 18th century the church was desecrated after the Battle of Bassein in which the Marathas defeated the Portuguese. They uncovered and worshipped the rock-cut sculptures again, but towards the end of the 18th century the British defeated the Marathas and the caves once again functioned as a place of Christian worship. After the end of colonial rule the church fell into disrepair and the caves gradually reverted to the worship of Siva. The church, including its roof, has been destroyed, but older local residents recall playing among the aisles and the nave of the church when they were children.A three-foot-high symbol of the cross, hewn out of a stone panel that once depicted mythical Hindu figures, stands at the entrance. It is the only remaining proof of Mandapeshwar’s historical past.
Fragmento de un relieve histórico con tres personajes romanos vestidos con túnica y toga. Patio octogonal. Museo Pío-Clementino. Museos Vaticanos.
Discóforo Vitelleschi. Vaciado en yeso de XVII de ¿copia? de original ¿griego? ¿helenístico?
Exposición "Velázquez. Esculturas para el alcázar."
Real Academia de Bellas Artes de San Fernando.
"Affresco parietale con Ulisse e le Sirene, Rome.
Among the few preserved examples of 1st century B.C. wall paintings that decorated Roman houses and villas, these frescoes depicting scenes from the Odyssey represent a truly unique masterpiece. The frescoes were found during the excavation of a domus on the Esquiline.
The painting, dated to the end of the Republican period, was divided into a series of panels by architectural partitions.
The scene presents the famous story of Odysseus and the mermaids [sirens] in which the Greek hero had his companions tie him to the main mast of his ship to resist the enchanted song with which the mermaids [sirens] attracted sailors to wreck their ships.
The scene is set in a vast landscape that derives from known Hellenistic models of the second century B.C. The landscape has stylistic affinities with the frescoes from the House of Livia on the Palatine, dating to ca. 300 B.C.
Some contemporary frescoes of a lesser quality found in Roman towns in the area around Naples and Vesuvius compare with the painting on display."
Inv. 261833
The info comes from the museum, except that the painting has sirens, who are half bird, not mermaids, who are half fish.
Taken in the Palazzo Massimo Alle Terme, a National Museum of Rome.
Multicolored mummy beads redesigned on a modern setting with a faience amulet of Ptah, the creator-God of Memphis (1¼”). 305-30 BC (23”)
Glazed brick animals from the Ishtar Gate, Babylon.
ancientart.tumblr.com/post/89308181346/romkids-the-ishtar...
Carved alabaster statue of a standing bearded worshipper with wavy hair, upper body bare, wearing a skirt with a tufted border on a base, the hands clasped together in an attitude of devotion. Incised cuneiform on the back. 2500 BC (9" x 3")
Macedonian. Silver Philip II drachm coin, the obverse with the portrait, the reverse with a horse-drawn chariot. 359-336 BC (½")