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Estela funeraria de un legionario romano.
Cultura romana.
S. III d. C.
Museo Arqueológico de Barcelona.
Male portrait (Gaius Octavius?). Marble. 50?25 B.C. Rome, Roman National Museum, Palazzo Massimo alle Terme.
Mars Disarmed by Venus (1824), the mythical story painted by classical French artist Jacques Louis David (1748-1825).
Drinking cup (kylix) depicting Herakles rescuing Deianera from Nessos
Greek, Classical Period, about 420–410 B.C.
Painter: Aristophanes
Potter: Erginos
Place of Manufacture: Athens, Attica, Greece
Ceramic, Red Figure
ROMAN RED SLIP ARRETINE WARE LIDDED PYXIS
Cylindrical with a conical lid; a medial band of moulded ivy leaf decoration around the body which is set on a ring foot.
Found in Britain.
Ex Edward J. W. Hildyard (d. 1964) collection, thence by descent.
1st Cenutry AD
H. 6 3/4 in. (17 cm.)
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
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
Julius Caesar. Early 46 BC. AV Aureus (20mm, 8.10 g, 5h). Rome mint; Aulus Hirtius, praetor. Veiled female head (Vesta?) right / Lituus, jug, and axe. Crawford 466; CRI 56; Sydenham 1018.
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.
EARLY ROMAN IMPERIAL SILVER STATUE OF PAN
Holding his flute, a goat skin wrapped around his waist and standing next to a tree with the animal’s head impaled on the top. Found in a ship wreck off the coast of Africa.
1st Centrury BC/AD
H. 4 1/8 in. (10.5 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.
Tiberius & Germanicus Gemellus. AD 19-37/8 and 19-23/4, respectively. Æ Sestertius (27.83 g, 6h). Rome mint. Struck under Tiberius, AD 22-23. Crossed cornucopia, each surmounted by the bust of a boy, vis-à-vis; winged caduceus between / Legend around large S C. RIC I 42 (Tiberius).
This issue, commemorating the birth of twin sons to Drusus Caesar and his wife Livia Drusilla (Livilla), was part of the series issued in 22 AD to promote the imperial virtue and dynastic solidity of the second emperor's family. Tiberius Gemellus (meaning "twin") was made principal heir with his cousin Gaius (Caligula) upon the death of Tiberius. Within the year, however, Caligula had his cousin murdered.
From CNG: This issue, commemorating the birth of twin sons to Drusus, the son of the second emperor Tiberius, and his wife Livilla, was part of the series issued in AD 22 to promote the dynastic solidity of Tiberius’ family. One of the twins died in infancy, but the other, Tiberius Gemellus (meaning "twin") was named an heir along with his cousin Gaius (Caligula). Within a year of Caligula’s accession, however, the new emperor had Tiberius Gemellus murdered.
From Richard Beal (Roma): "This sestertius was struck in 22/23, nearly three years after the death of Germanicus, Tiberius’ nephew and first heir. In the interim Tiberius had named no heir, but with the nine coins in his dated aes of 22/23 he announces a ‘Tiberian dynasty’ that includes his son Drusus, his daughter-in-law (and niece) Livilla, and his twin grandsons Tiberius Gemellus and Germanicus Gemellus, whose heads decorate the crossed cornucopias on this sestertius.
Since it is the only coin in the aes of 22/23 without an obverse inscription, we must presume its design was believed sufficient to communicate the fact that the twin boys were portrayed. Though this type usually is thought to celebrate the birth of the twins, that event had occurred two and one half years before this coin was struck. Rather, it is best seen in light of early Julio-Claudian dynastic rhetoric in which male heirs were celebrated as twins (even if they were not literally twins, or even biological brothers) and were routinely likened to the Dioscuri, the heavenly twins Castor and Pollux.
The crossed-cornucopias design is familiar on ancient coinage, and here the cornucopias, grape clusters, grape leaves and pine cones seemingly allude to Bacchus or Liber in a reference to fecundity. In terms of dynastic appeal, the design boasts of the prosperity and fruitfulness of the Tiberian line, with the caduceus symbolizing Mercury as the messenger of the gods and the bringer of good fortune.
Despite the hopefulness represented by this series of coins, tragedy struck on two fronts. The ‘Tiberian dynasty’ collapsed within months of its being announced when both Drusus and his son Germanicus Gemellus (the boy whose head is shown on the right cornucopia) died in 23.
Poor fates awaited the remaining two members: Drusus’ wife Livilla became increasingly associated with Tiberius’ prefect Sejanus, and she died shamefully in the aftermath of his downfall in 31, and the second grandson, Tiberius Gemellus, survived long enough to be named co-heir of Tiberius with Caligula, but after Tiberius’ death he was pushed into a subsidiary role and soon was executed by Caligula, who would not tolerate a second heir to the throne." - Ars Antiqua, 2008 CNGCOINS>COM
Nero AE Sestertius. Lyons mint, 64-66 AD. NERO CLAVD CAESAR AVG GER P M TR P IMP P P, laureate head left, globe at tip of neck / PORT AVG (inverted in exergue) S-C, two curved moles enclosing eight ships in the harbor of Ostia, statue atop lighthouse above, Neptune reclining below. Cohen -.
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.
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.
Herm bust of Pan
ca. 50 - 100 A.D.
Roman
Pale, creamy yellow marble (giallo antico) Pale, creamy yellow marble (giallo antico)
h. 17.8 cm., w. 11.5 cm., d. 7.0 cm. (7 x 4 1/2 x 2 3/4 in.)
Museum purchase
Object Number: y1963-44
EDUCATIONAL GUIDELINES ONLY
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
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
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.