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Head of the emperor Nero.
From the colossal statue, height ca. 2.40 m.
Height 45 cm.
Inv. No. 321.
Marble. After 64 A.D.
Munich, Glyptotek.
educational use only
Julius Caesar. February-March 44 BC. AR Denarius (18mm, 3.58 g, 2h). Lifetime issue. Rome mint; P. Sepullius Macer, moneyer. Wreathed head right / Venus Victrix standing left, holding small Victory and scepter; shield resting to lower right. Crawford 480/10; Alföldi Type VIII, 55 (A7/R14) ; CRI 107a; Sydenham 1073; Kestner -; RSC 38.
A ROMAN MARBLE MALE TORSO
Circa 1st Century B.C.-1st Century A.D.
The over-life-sized figure based on a Greek original of the late 5th century B.C., perhaps the Diadumenos of Polykleitos, the muscular athlete with his weight on his right leg, his left leg relaxed and slightly advanced, causing a slight pelvic thrust to the right, his pectorals flexed from the position of his arms which were originally raised to tie a fillet
48¼ in. (122.6 cm) high
educaional use only
www.mart.trento.it/antonellodamessina
Il Mart di Rovereto propone un’indagine articolata e uno sguardo originale sulla figura del grande pittore del Quattrocento e sul suo tempo, attraverso lo studio degli intrecci storico-artistici e delle controversie ancora aperte, presentati in questa sede come punti di forza attraverso i quali approfondire nuovi percorsi di interpretazione critica.
Il progetto espositivo, a cura di Ferdinando Bologna e Federico De Melis, ha l’ambizione di ricostruire l’ampia scena storica e geografica dalla quale emerge l’eccezionale individualità di Antonello: un pittore che, a metà del Quattrocento, si fa interprete di un fermento creativo mediterraneo ed europeo incentrato sull’incontro-scontro tra la civiltà fiamminga e quella italiana.
Photo by Fernando Guerra
www.mart.trento.it/antonellodamessina
Il Mart di Rovereto propone un’indagine articolata e uno sguardo originale sulla figura del grande pittore del Quattrocento e sul suo tempo, attraverso lo studio degli intrecci storico-artistici e delle controversie ancora aperte, presentati in questa sede come punti di forza attraverso i quali approfondire nuovi percorsi di interpretazione critica.
Il progetto espositivo, a cura di Ferdinando Bologna e Federico De Melis, ha l’ambizione di ricostruire l’ampia scena storica e geografica dalla quale emerge l’eccezionale individualità di Antonello: un pittore che, a metà del Quattrocento, si fa interprete di un fermento creativo mediterraneo ed europeo incentrato sull’incontro-scontro tra la civiltà fiamminga e quella italiana.
Photo by Fernando Guerra
Johann Georg Haberecht 'Ingot Molds', ca. 1920, The Grohmann Museum, 'Man at Work' collection, Milwaukee, Wisconsin
www.mart.trento.it/antonellodamessina
Il Mart di Rovereto propone un’indagine articolata e uno sguardo originale sulla figura del grande pittore del Quattrocento e sul suo tempo, attraverso lo studio degli intrecci storico-artistici e delle controversie ancora aperte, presentati in questa sede come punti di forza attraverso i quali approfondire nuovi percorsi di interpretazione critica.
Il progetto espositivo, a cura di Ferdinando Bologna e Federico De Melis, ha l’ambizione di ricostruire l’ampia scena storica e geografica dalla quale emerge l’eccezionale individualità di Antonello: un pittore che, a metà del Quattrocento, si fa interprete di un fermento creativo mediterraneo ed europeo incentrato sull’incontro-scontro tra la civiltà fiamminga e quella italiana.
Photo by Fernando Guerra
ROMAN BRONZE GROUP OF THE ENTHRONED ZEUS (JUPITER)
His lower body draped in a himation with a laurel crown upon his head. His raised left hand once held a lance and in front of him are two loose eagles; attached to a square pedestal with an inscription. Based on the statue of Jupiter Capitolinus which is ultimately derived from the 5th Century BC statue of the Olympian Zeus by Phidias.
Very fine style.
Ex private French collection.
1st-2nd century AD
H. of statue: 6 7/8 in. (17.5 cm.); total 9 1/8 in. (23.3 cm.)
Art of the Ancient World, 2006, no. 42
educational use only
For Prof. John Pollini' Curriculum Vitae go to
flickr.com/photos/julio-claudians/2493453894/in/pool-9327...
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.
Metopa sur.
Más información:
www.artehistoria.jcyl.es/arte/contextos/2926.htm
More information: www.britishmuseum.org/explore/galleries/ancient_greece_an...
A magnificent Roman bronze figure of Polykleitos's "Diskophoros" that is dated to the Julio-Claudian period, circa late 1st Century B.C./1st Century A.D. The figure, which is missing its right hand and an implement that had been held in the left hand and has a hole between its shoulder blades, is 12 inches high. Polykleitos "was one of the most famous and influential Greek sculptors of the High Classical Period" and was "a native of Argos in the Peloponnesus...[and] flourished circa 460-420 B.C....None of the master's original works are known to have survived, but several are recognized in Roman copies." 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.
Augustus. 27 BC-AD 14. AR Denarius (3.88 g, 10h). Rome mint. C. Marius C.f. Tro(mentina tribu), moneyer. Struck 13 BC. AVGVSTVS, bare head right; lituus behind / C • MARIVS • TRO III • VIR, bust of Diana (Julia) right, wearing diadem with jewel on forehead, hair knotted at back; quiver seen behind neck. RIC I 403; RSC 1 (Julia and Augustus); BMCRE 104 = BMCRR Rome 4651; BN 522-5.
Julia was the only child of Augustus, born to his second wife Scribonia. Julia was betrothed, while still a baby, to Antony’s son Antyllus. Her first marriage was to Marcellus in 25 BC. On his death in 21 BC, she married Agrippa by whom she had five children. Her oldest, the twins Caius and Lucius, were intended for the eventual imperial succession. Upon the murder of Caius in 4 AD, Augustus reluctantly acknowledged his stepson as heir to the imperial throne.
Statue of Claudius as Jupiter.
Marble. Ca. 50 A.D.
Inv. No. 243.
Rome, Vatican Museums, Pio-Clementine Museum, Round Room.
educational use only
Augustus, 27 BC-14 AD. Gold Quinarius (3.86g), uncertain Spanish mint (Colonia Patricia?), struck c. 18-16 BC. Bare head of Augustus right; AVG - VST. Reverse: Victory standing on globe right, holding aequilia up while holding branch down. RIC 121 (same reverse die); BMCRE 424.
English: Portrait of Livia Drusilla. Marble, Roman artwork. From the Tiber, Rome.
Français : Portrait de Livie. Marbre, œuvre romaine. Provenance : Tibre, Rome.
Italiano: Ritratto di Livia. Marmo, opera romana. Da lavori dell'alveo del Tevere, Roma.
Accession number Inv. 572
Location Ground floor, gallery
Source/Photographer Marie-Lan Nguyen (2009)
Pieter Bruegel (The Younger), (1564-1638) 'The Peasant Lawyer', The Grohmann Museum, 'Man at Work' collection, Milwaukee, Wisconsin
Metopa sur.
Más información:
www.artehistoria.jcyl.es/arte/contextos/2926.htm
More information: www.britishmuseum.org/explore/galleries/ancient_greece_an...
The palace, named Domus Transitoria, was an architectural masterpiece which stretched from the Palatine, where Nero first lived with his grand-uncle and adoptive father Claudius and his mother Agrippina, to the gardens of Maecenas on the Esquiline.
The residence was grandiose, but it did not last long. Built around 60 A.D., it was ruined in the Great Fire four years later and was replaced by the Domus Aurea, one of the most opulent palatial complexes ever constructed.
news.discovery.com/history/nero-palace-reconstructed-virt...
Joe Geranio
Julio Claudian Iconographic Association
Unknown
Roman, 20 - 10 B.C.
Marble
21 1/4 x 12 x 8 1/16 in.
72.AA.106
The size and high quality of this portrait bust suggest that it portrays a member of the Roman imperial family. Scholars have had difficulty in identifying the woman because the portrait is carved in a classicizing style that subsumes the features of the individual. All female portraits of the imperial family were carved in this style, and all the portraits look very much alike. The political message of unity conveyed by these nearly identical, idealized portraits was considered more important than the individual appearance of the women.
Still, there are signs of aging in this portrait--hints of a sagging jawline, a double chin, and baggy eyes. Based on these features, this portrait likely represents Octavia Minor, the sister of Augustus, the first Roman emperor. Born about 69 B.C., Octavia played a role in the volatile politics of the last years of the Roman Republic. In 40 B.C., she was married to Mark Antony in a political match designed to strengthen the bonds between Antony and her brother. This alliance and the marriage did not last, but Octavia remained a beloved member of Augustus's imperial court until her death in 11 B.C. This portrait type may have been created to commemorate her death.
Pompeii and the Roman Villa: Art and Culture Around the Bay of Naples, on view at the Los Angeles County Museum of Art from May 3-October 4, 2009
Given my Ischian isolation, my busy schedule, and the misgivings we all had that summer about Naples, I did not have the opportunity to visit the highly recommended National Archeological Museum of Naples and other major museums in Pompeii and the coastal villas. How wonderful, accordingly, that many of the treasures of those locations showed up this year—the year I had determined to publish my experiences in Ischia, Pompeii, Naples, and the Compania region—at the Los Angeles County Museum of Art, across the street from my both our condominium and my office.
Unlike the previous show of some years earlier, which focused on Pompeii, this was centered on the Roman Villas around Naples and the neighboring cities of Pompeii, Herculaneum, Stabiae (now Castellamare di Stabia), Surrentum (Sorrento), Capreae (Capri), Pausilypon (Posillipo), and Puteoli (Pozzuoli)—where, as I describe above, my journey to Ischia began.
Selecting from the villas of the wealthy Romans, particularly the ruling families of the emperors Tiberius, Caligula, Claudius, and Nero, Pompeii and the Roman Villa: Art and Culture Around the Bay of Naples, represents powerful sculptures, frescoes, interiors, courtyards and gardens, as well as more modern representations of the great volcanic eruption of Vesuvius that ended this region's cultural dominance.
The model for these wealthy patrons was clearly Greek, and many of the subjects and references of their art were to Greek figures of history, such as the beautiful sculpture of Homer of the 1st century, borrowed from the Museum of Fine Arts in Boston. Similarly, Plato's Academy, a mosaic from the Pompeian Villa of T. Siminnius Stephanus, and the marble Panel with a Dionysiac procession from Herculaneum, both also of the 1st century, attest to the Romans' commitment to Greek figures and themes.
Yet, it is through the detailed sculptures of the family members themselves that we come to recognize just how different these Greek-inspired works came to be in the Roman artists' depictions. The beautiful Aphrodite/Venus, discovered in Puteoli (Pozzouli), with its voluminous folds of dress and densely curled hair topping the head, and the striking head of the dreaded emperor Gaius (Caligula), also from Pozzouli, make clear that while the models for these works may have been from the Hellenic culture, the Roman artists themselves found new expression in their renderings.
Perhaps some of the most spectacular work in this show is the recreation of a Garden, including a magnificent fresco, Garden Scene, from Pompeii, House of the Golden Bracelet. At once the viewer feels as if he has entered the garden itself, and is awed by the theatrical-like settings.
A couple of the pieces, particularly the black basanite sculpture of Livia (from the Paris Louvre museum) seem almost art deco in their modernity. The small paintings and frescoes of these villas themselves are worth the ticket of admission.
It is little wonder that when the excavations of Pompeii and Herculaneum were begun in the late eighteenth and nineteenth centuries, the whole world became fascinated and enchanted by the vast numbers of antiquities unearthed, creating a whole new round of expressions of the cities and villas caught in the unfortunate drama of nature.
None of these, of course, can compare with the ancient art discovered in Naples and the surrounding region, but their dramatic expression of that violent end to these great cities and villas, such as Pierre-Henri de Valenciennes' 1813 canvas Eruption of Vesuvius, continues to awe us still today, creating myths larger than those even of the Italian citizens, great storytellers though they be, who continue to endure life in this region.
It is clear, after seeing this show and reading Shirley Hazzard's apologia for Naples (The Ancient Shore, a review to follow) that I shall have to return to the city, if for no other reason than to pay homage to such a splendorous past.
FROM WIRE for Educational use only
The portrait was unpublished and not tagged in the museum until recently, I wrote a blog about the portrait and am doing further work on the portrait. I first saw it on Mr. Jennings flickr site and blogged it in 2006: portraitcaligula.blogspot.com/
Joe Geranio
Julio Claudian Iconographic Association
www.mart.trento.it/antonellodamessina
Il Mart di Rovereto propone un’indagine articolata e uno sguardo originale sulla figura del grande pittore del Quattrocento e sul suo tempo, attraverso lo studio degli intrecci storico-artistici e delle controversie ancora aperte, presentati in questa sede come punti di forza attraverso i quali approfondire nuovi percorsi di interpretazione critica.
Il progetto espositivo, a cura di Ferdinando Bologna e Federico De Melis, ha l’ambizione di ricostruire l’ampia scena storica e geografica dalla quale emerge l’eccezionale individualità di Antonello: un pittore che, a metà del Quattrocento, si fa interprete di un fermento creativo mediterraneo ed europeo incentrato sull’incontro-scontro tra la civiltà fiamminga e quella italiana.
Photo by Fernando Guerra
A ROMAN PARCEL GILT SILVER SERAPIS
CIRCA 1ST CENTURY A.D.
Solid cast, the god standing with his weight on his right leg, his left knee bent, his feet turned out, draped in a voluminous mantle over his short-sleeved tunic, zigzag folds falling from his left shoulder, the borders of both and his sandals gilt, his left arm raised and gripping his now-missing scepter, his right hand lowered, the palm open, once holding an attribute, perhaps a phiale, his head slightly downturned, wavy locks surrounding his face, with a full beard and moustache, his small eyes articulated, the head once surmounted by a modius, with traces of gilding at its base
4 7/8 in. (12.4 cm.) high
educational use only
Lápida de Marco Lucceo Chilón.
Cultura romana.
Museo Arqueológico de Barcelona.
Hispania Epigraphica: www.eda-bea.es/pub/record_card_2.php?refpage=%2Fpub%2Fsea...
Mosaico del circo.
Encontrado en Barcino en 1860.
Representa escena del Circo Máximo de Roma.
Cultura romana.
Siglo IV d. C.
Augustus. (27 BC-14 AD). Gold aureus (7.89 gm). Lugdunum, 8 BC. AVGVSTVS DIVI F, laureate head right / C CAES AVGVS F, Gaius Caesar on horse galloping right wearing bulla around neck, holding sword and shield, legionary eagle and two standards behind him. BMCRE 498. CBN 1457. Cohen 39 (50 Fr.). RIC 198. Extremely elegant portrait. Mint state. In 8 BC Augustus introduced his twelve-year-old grandson and adopted son Gaius Caesar to the Roman army in Gaul. The bulla around Gaius' neck signifies that he was still a child and had not yet assumed the toga of manhood (J. Pollini, "Gaius Caesar on horseback," Museum Notes 30, 1985).
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.
AV-Aureus, 55, Rom; 7.51 g. Büsten des Nero und der Agrippina filia r.//Divus Augustus und Divus Claudius in Elefantenquadriga l. BMC 7; Calico 397; Coh. 3; RIC² 6.
Julius Caesar. 42 BC. AR Denarius (16mm, 4.00 g, 7h). Posthumous issue. Rome mint; L. Mussidius Longus, moneyer. Laureate head right / Rudder, cornucopia on globe, winged caduceus, and flamen's cap. Crawford 494/39a; CRI 116; Sydenham 1096a; RSC 29.
Lucius Mussidius Longus, a moneyer with an otherwise unknown cursus honorum. His nomen Mussidius indicates that he was a novus homo, or up-and-coming man with no long family pedigree. As such, he would have allied himself to any potential long-term power base. In 42 BC, as the Second Triumvirate was defeating Caesar’s assassins, Mussidius oversaw the striking of this denarius of the now-deceased and soon to be deified dictator, a clear nod to the Caesarian cause. Apparently, such a move benefitted the gens Mussidia. A distant relation, T. Mussidius Pollianus, was a senator under the new regime in the first century AD.
1st Century BC/AD
H. 9 5/8 in. (24.5 cm.)
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.
Augustus, with Divus Julius Caesar. 27 BC-AD 14. AR Denarius (19mm, 3.64 g, 1h). Rome mint; M. Sanquinius, moneyer. Struck circa 17 BC. Herald, wearing long robe and feathered helmet standing left, holding caduceus and round shield ornamented with six-pointed star / Laureate head of Divus Julius Caesar right; comet above. RIC I 340; RSC 6 (Julius Caesar).
Divus Julius Caesar. 40 BC. AR Denarius (18mm, 3.85 g, 6h). Rome mint. Q. Voconius Vitulus, moneyer. Laureate head right; lituus behind / Bull-calf walking left. Crawford 526/2; CRI 329; Sydenham 1132; RSC 46.
Clodius Macer. Usurper, AD 68. AR Denarius (3.41 g, 6h). Carthage mint. L CLODI MAC-RI, S C across field, Libertas standing facing, head left, holding pileus in right hand and patera in left / MAC-RIANA LI-B, LEG I across field, aquila between two signa. RIC I 20; Hewitt group D/2, 30 (O17/19 – this coin illustrated); RSC 2; BMCRE p. 286, *; BN 5. VF, toned, minor marks, traces of undertype, shallow test cut on edge. Extremely rare. One of only seven examples known of this type.
From the Gordon S. Parry Collection. Ex ANA Centennial Sale of Ancient Greek and Roman Coins (Numismatic Fine Arts XXVI, 14 August 1991), lot 221; Leu 20 (25 April 1978), lot 246.
Clodius Macer was propraetor in Africa. As opposition to Nero grew and the power of the central government dwindled, Macer acted as little more than a pirate, sweeping the north African coast hoping to increase his power by cutting into the grain supplies of Rome. By April of 68, Macer had decided not to support Galba, and in June when Nero committed suicide, Macer began striking coins in his own name. All of Macer’s coins are of rather crude style, an indication of the lack of skilled die engravers and the haste at which they were produced. By October, Galba had solidified his power in Rome and ordered Macer’s execution. All of Macer’s coins are extremely rare, with fewer than 85 coins of all types known.
Roman, about AD 4-14
From Italy
A flattering portrait of the 46 year old heir to the imperial throne
The head, set into a modern bust, shows the image of the future emperor Tiberius (reigned AD 14-37). It was commissioned in AD 4 to mark his adoption as the successor of the emperor Augustus, his step-father. At the time Tiberius would have been forty-six years old, but is shown in the portrait as much younger.
The intrigues of Livia, Tiberius' mother, were probably a major factor in his rise to power, combined with the terrible health and unfortunate accidents which befell all the other potential heirs of Augustus. Tiberius was a successful general in campaigns against Persia and along the Danube and Rhine, but lacked Augustus' natural rapport with the Senate, making his period as emperor politically turbulent. His reliance upon the ambitious and brutal Sejanus, the head of the Praetorian guard (the imperial bodyguards) caused particular concern, as did the emperor's supposed sexual excesses at the Villa Iovis on the island of Capri.
S. Walker, Greek and Roman portraits (London, The British Museum Press, 1995)
S. Walker, Roman art (London, 1991)
Photo Courtesy of David Emery
ROMAN BRONZE GROUP OF THE ENTHRONED ZEUS (JUPITER)
His lower body draped in a himation with a laurel crown upon his head. His raised left hand once held a lance and in front of him are two loose eagles; attached to a square pedestal with an inscription. Based on the statue of Jupiter Capitolinus which is ultimately derived from the 5th Century BC statue of the Olympian Zeus by Phidias.
Very fine style.
Ex private French collection.
1st-2nd century AD
H. of statue: 6 7/8 in. (17.5 cm.); total 9 1/8 in. (23.3 cm.)
Art of the Ancient World, 2006, no. 42
educational use only
www.mart.trento.it/antonellodamessina
Il Mart di Rovereto propone un’indagine articolata e uno sguardo originale sulla figura del grande pittore del Quattrocento e sul suo tempo, attraverso lo studio degli intrecci storico-artistici e delle controversie ancora aperte, presentati in questa sede come punti di forza attraverso i quali approfondire nuovi percorsi di interpretazione critica.
Il progetto espositivo, a cura di Ferdinando Bologna e Federico De Melis, ha l’ambizione di ricostruire l’ampia scena storica e geografica dalla quale emerge l’eccezionale individualità di Antonello: un pittore che, a metà del Quattrocento, si fa interprete di un fermento creativo mediterraneo ed europeo incentrato sull’incontro-scontro tra la civiltà fiamminga e quella italiana.
Photo by Fernando Guerra
Nero. AD 54-68. Æ Sestertius (33mm, 23.72 g, 6h). Lugdunum (Lyon) mint. Struck circa AD 65. Laureate head right, globe at point of bust / Roma seated left on cuirass, holding Victory and resting hand on parazonium. RIC I 398. cngcoins.com
Cameo architectural panel, ca. 1–25 A.D.; Augustan–early Julio-Claudian
Roman
Glass; H. 5 1/16 in. (12.9 cm), W. 11 7/8 in. (30.2 cm)
Rogers Fund, 1918 (18.145.38a)
The reign of the first emperor Augustus (27 B.C.–14 A.D.) is rightly regarded as the Golden Age of Rome. Augustus is credited with transforming Rome from a city of brick to one of gleaming marble, where many new buildings were erected and decorated with ornate architectural facades and sculptural elements. A favored type of decoration was the so-called inhabited tendril scroll. While examples can be seen on large public monuments such as the Ara Pacis in Rome, it was imitated on a smaller scale in a variety of media, including silver drinking cups, Arretine pottery, and glass. This fragment was once part of a larger panel of cameo glass that served as a revetment to a wall or pilaster, and its scale suggests that it formed part of the interior decoration of a large and elegant house belonging to a prominent figure at Rome.
The panel is part of an elaborate frieze inhabited by various animals and birds; an eagle can still be seen preserved in the right corner. The bounteous acanthus motif (10.210.28) is a characteristic element of Augustan art; it reflects the peace and subsequent prosperity brought to the Mediterranean after Octavian (Augustus) defeated Marc Antony at Actium in 31 B.C., effectively ending the period of civil strife that had plagued Rome for over a century.
Perhaps the most famous use of the acanthus frieze during Augustus' regime is on the Ara Pacis Augustae, the Altar of Augustan Peace, built in 13 B.C. to promote Augustus as the savior of Rome and its new, legitimate, ruler. Both the close association of acanthus friezes with Augustan art and the likely high cost of such an elaborate cameo panel point to Augustus or his immediate circle as the most likely patrons for this object and the building it adorned.
Educational Use Only
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.
GAIUS CALIGULA. 37-41 AD. Æ As (11.21 gm). Struck 37/38 AD. C CAESAR AVG GERMANICVS PON M TR POT, bare head left / VESTA, S C across field, Vesta seated left, holding patera and sceptre. RIC I 38; BMCRE 46; Cohen 27. 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)
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Full Record: Kaenel, Hans-Markus von. Augustus, Caligula oder Caludius? (1978)
Full Record: Kaenel, Hans-Markus von. Die Organisation der Münzprgung Caligulas. (1987)
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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)
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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)
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Full Record: McKenna, Thomas P. The case of the curious coin of Caligula : a provincial bronze restruck with legend-only dies. (1994)
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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)
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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)
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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)
Claudius.
Marble. 41—54 A.D.
Height 43 cm.
Inv. No. 1423.
Copenhagen, New Carlsberg Glyptotek.
educational use only
Presently located:
Kopenhagen, Dänemark, DK, Ny Carlsberg Glyptothek. Inv. no. 1423
Provenience:
Italien, Cerveteri / Caere ?, 1895 in Frascati gekauft
Category/Cultural Era/Function:
Rundplastik; Portrait
Cultural era: römisch
Dating:
Replik: claudisch, 1. Cent. n. Chr.
Technique:
Technique: Bildhauerei
Measurements / Material:
H 43 cm
Material: Marmor
Bibliography:
D. Boschung, Gens Augusta: Untersuchungen zu Aufstellung, Wirkung und Bedeutung der Statuengruppen des julisch-claudischen Kaiserhauses. MAR 32 (Mainz 2002) 87 Cat. no. 25.11 Pl. 71, 4;
K. Fittschen, Katalog der antiken Skulpturen in Schloss Erbach (Berlin 1977) 55
[Replik 4];
F. Johansen, Catalogue Roman Portraits I. Ny Carlsberg Glyptotek (1994) 144 Cat. no. 60;
F. Poulsen, Catalogue of Ancient Sculpture in the Ny Carlsberg Glyptotek (Kopenhagen 1951) 453 Cat. no. 648;
V. Poulsen, Les Portraits Romains I (Kopenhagen 1962) 92 f. Ill. 96. 97 Cat. no. 58;
Statue of Tiberius in toga. Detail.
Marble.
Height 2.08 m.
Inv. No. MR 355 (Ma 1248).
Paris, Louvre Museum.
educational use only
Deutsch: Kameo: Kaiser Caligula und Roma. Römisch, Frühe Kaiserzeit. 37 - 41 n. Chr. Sardonyx, zweischichtig. Fassung: Gold, emailliert, 17. Jh. H. 11 cm. Kunsthistorisches Museum Wien, Antikensammlung. Inv.-Nr. ANSA_IXa_59. Fundort: Unbekannt. Provenienz: Schatzkammer; seit 1724 im kaiserlichem Besitz nachweisbar; 1779 Übernahme.
English: A Gemma, in the Collection of Greek and Roman Antiquities in the Kunsthistorisches Museum, Vienna. Depiction of an Emperor Caligula seated with goddess Roma.
Date June 2006(2006-06)
Source Own work
Author Gryffindor