View allAll Photos Tagged classicalart
Augustus. 27 BC-AD 14. AR Denarius (18mm, 3.51 g). Emerita mint. P. Carisius, legate. Struck circa 25-23 BC. Bare head right / Celt-Iberian helmet between dagger and bipennis. RIC I 7a; BMCRE 280; RSC 406.
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.
PHRYGIA, Hierapolis. Nero. AD 54-68. Æ 17mm (5.60 g). Chares and Papias, magistrates. Struck circa AD 55. Draped bust right / Apollo on horseback right, holding double ax over shoulder. RPC I 2976; SNG Copenhagen 456.
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.
Nero Æ Dupondius. Lugdunum mint, ca 65 AD. NERO CLAVD CAESAR AVG GER P M TR P IMP P, laureate head right / MAC AVG S-C, façade of the Macellum Magnum: nude male statue standing facing within cylindrical arched tetrastyle entrance set on tiered base with central staircase; upper tristyle story surmounted by ornate conical dome.
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.
Nero. AD 54-68. AR Denarius (3.39 g, 6h). Rome mint. Struck circa AD 64-65. NERO CAESAR AVGVSTVS, laureate head right / IVPPITER CVSTOS, Jupiter, naked to the waist, cloak around lower body, seated left on ornate throne, holding thunderbolt in right hand and long scepter in left. RIC I 53; WCN 57; RSC 119; BMCRE 74-6; BN 220-1.
This reverse type commemorates the protection of Nero from the Pisonian Conspiracy. Events of the years 64-65 AD defined the subsequent reputation of Nero as a cruel and self-indulgent ruler. In 64 AD, a large section of central Rome burned; Nero's reputed singing of the destruction of Troy during the fire led to the later association of him "fiddling" as the city burned. Within the charred remains of the city's center, Nero constructed the Domus Aurea, or Golden House, so named because of the gilded tiles on its exterior. Nero's "excesses" resulted in a conspiracy to overthrow and replace him with Gaius Calpurnius Piso. Among the conspirators were many high-ranking members of Nero's court including Seneca the Younger, the poet Lucan, and Petronius, who called himself Nero's "arbiter of elegance." To Nero, the failure of a conspiracy made up of those so close to him could have been achieved only through divine intervention. As the king of the gods oversaw the security of the Roman state, Nero believed it was Jupiter the Guardian (Custos) who had saved him from harm.
Julius Caesar and Mark Antony. 43 BC. AR Denarius (17mm, 3.84 g, 10h). Military mint traveling with Antony in Cisalpine Gaul. M. ANTON. IMP. R. P. C., bare head of Mark Antony right; lituus beind / CAESAR DIC before, bare head of Julius Caesar right; capis behind. Crawford 488/2; CRI 123; Sydenham 1166; RSC 3.
Following the assassination of Julius Caesar, it was unclear who would inherit his legacy. The two primary contenders were Mark Antony and Octavian. Both issued a variety of coinages that propagandized their link to the slain dictator. In particular, Octavian, through his familial link, was able to associate the name CAESAR with his own portrait. Lacking a direct link of this nature, Antony often appeared with the symbols of the various offices he held which had been held by Caesar, such as the augurate. Perhaps Antony's most cunning propaganda, however, is the coinage he struck bearing both his portrait and that of Caesar. The first of these was struck while Antony was in Gaul following his defeat at Mutina in 43 BC, and was the first type struck by Antony's military mint. The present coin is from the second series of this type, and was struck following the settlement in November 43 BC between Antony, Octavian, and Lepidus, in which the Second Triumvirate was formed.
Désiré-Francois Laugée 'Poppy Threshing', The Grohmann Museum, 'Man at Work' collection, Milwaukee, Wisconsin
Bust of Nero. Detail.
Marble. Restoration of the 17th century. A part of the face is ancient.
Height 66 cm.
Inv. No. MC427.
Rome, Capitoline Museums, Palazzo Nuovo, Hall of the Emperors.
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
A LATE HELLENISTIC OR EARLY ROMAN MARBLE FIGURE OF PAN
CIRCA 1ST CENTURY B.C./A.D.
The goat-legged god depicted nude, an animal skin draped around his shoulder and over his left arm, with well muscled torso, long hair falling down to his shoulders and shaggy beard, holding pipes(?) in his left hand and another object in his right, mounted
14½ in. (37 cm.) high
educational use only
This art piece was a center focus to most my art drawings that I want to combine it with photography work. I think the challenge is that you must be able to imagine the aftermath and main purpose for you to achieve it....through a gradual process.....then you must be able to grasp the "point-of=making" in like manner....I think. Finally, this work is a focus on a girl's life in another different world of reality....!!!!
Tiberius (AD 14-37), Gold Quinarius 3.91g, AD 32-33, TI DIVI F AVGVSTVS, laureate head right, rev TR POT XXXIIII, Victory seated right on globe, holding wreath (RIC 18; BMC 24; RCV 1761 var).
English: Portrait of Agrippina Minor. Luni marble, Roman artwork of the late Claudian period. From Ostia Antica.
Français : Portrait d'Agrippine la Jeune. Marbre de Luni, œuvre romaine de la fin de la période claudienne. Provenance : Ostia Antica.
Italiano: Ritratto di Agrippina Minore. Marmo lunense, opera romana della tarda età claudia. Da Ostia Antica.
Accession number Inv. 56964
Location Ground floor, gallery
Source/Photographer Marie-Lan Nguyen (2009)
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
Title
Bronze portrait bust of a young boy
Medium; Technique
Bronze, silver
Culture
Roman
Period
Early Imperial, Julio-Claudian
Date
ca. A.D. 50-68
Dimensions
H. 11 1/2 in. (29.2 cm)
Classification
Bronzes
Credit Line
Funds from various donors, 1966
Accession Number
66.11.5
On View
Description
Additional Views (Total: 3)
Selected Bibliography
Description
This life-size portrait bust of a young boy, originally affixed to a herm of wood or stone, was made by a gifted sculptor who endowed it with great presence. His large soulful eyes are inlaid with silver, and his hair is arranged in thick layers of curls that even cover the backs of his ears. The boy's identity is unknown since no inscription is preserved, but the high quality of the sculpture has often led to the suggestion that he represents the emperor Nero as a child. Since Nero was already 13 years old in A.D. 50, when he was adopted by his great uncle and stepfather, the emperor Claudius, it seems unlikely that he is in fact the person portrayed here. Nevertheless, the style of the bust is very much in keeping with late Julio-Claudian portraiture.
Selected Bibliography
The Metropolitan Museum of Art. 1987. Greece and Rome. New York: The Metropolitan Museum of Art, p. 86-87.
Pollini, John. 2002. The Cobanus Hoard. Gallo-Roman Bronzes and the Process of Romanization. Leiden: Brill, p. 2 n. 8; 17 n.15.
Picón, C.A., et al. 2007. Art of the Classical World in The Metropolitan Museum of Art. New York: The Metropolitan Museum of Art, no. 414, pp. 359, 486-87.
Educational Guidelines Used
A ROMAN BRONZE DANCING LAR
Depicted standing with his weight on his toes, the left leg advanced, the heels lifted, wearing sandals and a short tunic pinned at the shoulders, a mantle tied around his waist, the skirt and ties billowing behind, his head slightly downturned to his left, his short, wavy locks upswept, the eyes inlaid in glass, the left arm raised above his head, the right lowered, both once holding now-missing attributes
6¼ in. (15.9 cm.) high
educational use only
Barent Pietersz Fabritius 'The Slaughtered Pig', 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
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
Marble panel-relief from the Sebasteion (monument to the Julio-Claudian family) at Aphrodisias, Asia Minor, 1st cent. AD: heroically nude Claudius (center) clasps the hand of a female figure (right) who holds ears of grain (?) in her other hand, while he is crowned by a male figure (left). for educational use only/
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.
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.
Unknown
Roman, A.D. 50 - 75
Bronze
12 5/8 in.
84.AB.670
Wearing a tunic and heavy cloak, this female figure is identified as a goddess by the form of her diadem. The figure's pose and dress draw heavily on the Greek Classical tradition. She is now missing the attributes she held, which would have identified her, but the position of her hands suggests that she may have held a patera, or offering dish, and a scepter or staff. Comparisons with Roman coins have led to the conclusion that she is most likely Ceres, goddess of fertility, or Juno, the goddess of marriage.
The back of this figure is only summarily finished and has a large rectangular hole for attachment to another object. This goddess is said to have been found with the Appliqué with Two Men and the Statuette of Roma or Virtus. Together these pieces appear to form a group of relief sculpture, which may have served as appliqué decorating the same object, perhaps a chariot or a piece of furniture.
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.
Octavian August as Jupiter.
Marble. First quarter of the 1st century.
Saint-Petersburg, The State Hermitage Museum.
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
Agrippina Senior. Died AD 33. Æ Sestertius (35mm, 24.03 g, 6h). Rome mint. Struck under Claudius, AD 50-54. Draped bust right / Carpentum left, drawn by two mules. RIC I 103 (Claudius).
Erich Mercker 'Construction of Autobahn over Werra River, Germany', 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
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
THRACE, Perinthus. Octavia, first wife of Nero. Augusta, 54-62 AD. Æ 27mm (10.35 gm, 12h). OKTAOUIA SEBASTH, diademed and draped bust right / HRA PERINQIWN, cult statue of Hera of Samos left, holding filleted patera. Schönert cc en.wikipedia.org/wiki/File:Claudia_Octavia.jpg
Augustus: first emperor of the Roman world (27 BCE - 14 CE).
Names:
23 September 63 BCE: Gaius Octavius
8 May 44: Gaius Julius Caesar
November 40: Imperator Caesar Divi filius
2 September 31 BCE: sole ruler
16 January 27: Imperator Caesar Divi filius Augustus
19 August 14 CE: natural death
Historians sometimes call him Octavian, a title he never used.
Relatives:
father: Gaius Octavius
mother: Atia
married to:
Clodia (stepdaughter of Marc Antony)
Scribonia
Daughter: Julia
Livia
Youth
63 Born in Rome
60 Octavius' father Gaius Octavius becomes praetor
59 Death of Octavius Senior; Octavius Junior is educated by his stepfather Lucius Marcius Philippus
49 His uncle Julius Caesar launches the Second Civil War
48 Elected as pontifex
47 Prefect of the Latin Games
46 In Africa
45 To Spain; return; to Illyricum (Apollonia)
44 adopted by Julius Caesar
The road to power:
43 Battle of Mutina
43 Consul suffectus (with Quintus Pedius)
43 Second Triumvirate; marriage to Clodia
42 Philippi (battle)
41: End of marriage to Clodia
41/40 Siege of Perugia
40 Treaty of Brundisium
40 Marc Antony marries Octavia; Herod the Great king
40/39: Octavian marries Scribonia
39 Treaty of Misenum
39 birth of Julia; end of marriage to Scribonia
38 Octavian marries Livia (two stepsons: Drusus, Tiberius)
36 Defeat of Sextus Pompeius
34/34 Dalmatian war
33 Consul II (with Lucius Volcacius Tullus)
32 Marc Antony divorces Octavia
31 Consul III; naval battle of Actium (with Marcus Valerius Messalla Corvinus)
30 Consul IV (with Marcus Licinius Crassus); suicide of Marc Antony and Cleopatra VII Philopator; annexation of Egypt
Sole ruler:
29 Consul V (with Sextus Appuleius); triumph; Gates of Janus closed
28 Consul VI (with Marcus Agrippa II); purge of the Senate
27 Consul VII (with Marcus Agrippa III); restores the republic; accepts the title of Augustus (more...)
26 Consul VIII (with Titus Statilius Taurus): war in Spain
25 Consul IX (with Marcus Junius Silanus): war in Spain; annexation of Galatia; expedition to Arabia Felix; Ethiopian war; Gates of Janus closed
24 Consul X (with Gaius Norbanus Flaccus)
23 Consul XI (with Aulus Terentius Varro Murena); tribunicia potestas; Agrippa receives proconsular powers
23 Death of Marcellus; Nubians attack Egypt
22 Voyage to the east; punitive raid against Nubia
21 idem; Agrippa marries Julia
20 Parthian Empire surrenders standards
19 Return from the east; proconsular powers renewed
18 Second purge of the Senate; proconsular powers of Agrippa renewed
17 Secular games; Gaius Caesar and Lucius Caesar adopted; Lollius defeated
16 Voyage to Gaul; annexation of Noricum
15 Annexation of Raetia (commemorated, ten years later, by the monument of La Turbie)
13 proconsular powers of Agrippa renewed
12 Augustus becomes pontifex maximus; death of Agrippa; Drusus in Germania Inferior; Tiberius in Pannonia
11 Third purge of the Senate; Tiberius marries Julia; death of Augustus' sister Octavia
9 Death of Drusus
8 Death of Maecenas; census; Tiberius in Germania Inferior
6 Tiberius received tribunicia potestas; in voluntary exile
5 Consul XII (with Lucius Cornelius Sulla); Gaius Caesar princeps iuventutis
4 Death of king Herod; Quinctilius Varus in Judaea
2 Consul XIII (with Marcus Plautius Silvanus); pater patriae; Julia exiled
1 BCE Gaius Caesar to the East
1 CE Gaius Caesar consul
2 Death of Lucius Caesar; return of Tiberius
4 Death of Gaius Caesar; Tiberius adopted; fourth purge of the Senate; Lex Aelia Sentia
5 Tiberius in Germania
6 Herod Archelaus dethroned; annexation of Judaea by Quirinius
6-9 Pannonian revolt
9 Disaster in the Teutoburg Forest
13 Senate restrics the Vigintisexviri to equestrian order; Tiberius triumphant
14 Death of Augustus; publication of the Res Gestae
New legions:
V Macedonica; VI Victrix; X Fretensis; XV Apollinaris; XVI Gallica; XVII; XVIII; XIX; XX Valeria Victrix; XXI Rapax; XXII Deiotariana.
The Mausoleum of Augustus
Buildings (in Rome):
Forum Augusti with temple of Mars Ultor, many buildings on the Forum Romanum (temple of Caesar, arch of Augustus, Curia Julia, Basilica Julia, Basilica Aemilia), Porticus of Livia, Macellum Liviae, Porticus of Octavia, Theater of Marcellus, Theater and Crypta of Balbus, Mausoleum of Augustus, Aqua Marcia, Aqua Virgo, Aqua Julia, Aqua Alsietina, Baths of Agrippa, Horologium Augusti, Ara Pacis, Basilica of Neptune
Buildings (outside Rome):
Temple of Augustus (Ankara); Trophee at La Turbie
Contemporary events:
40 Virgil's Fourth Eclogue
37 Varro's De re rustica
34 Death of the historian Sallust
33 Death of Bochus II of Mauretania
31 King Herod completes the building of Masada
27 Death of Varro
25 Augustus makes Juba king of Mauretania
24 First publication of Strabo' Geography
23 Horace's Odes; Vitruvius' De Architectura
20 King Herod's starts to rebuild the Temple of Jerusalem
19 Death of Virgil; death of Tibullus
15 Death of Lucius Munatius Plancus
13 Dedication of the Theater of Marcellus; Drusus founds Mainz
12 Death of Propertius
10 Herod builds Caesarea
9 Ara Pacis inaugurated
8 Death of Horace; death of Maecenas
4 BCE Death of king Herod; birth of Jesus of Nazareth (?)
5 CE Death of Gaius Asinius Pollio
8 Ovid exiled; death of Marcus Valerius Messalla Corvinus
11 Death of Marcus Antistius Labeo
Greek riders than once formed part of the Frieze around the roof of the Parthenon - part of the Elgin Marbles collection in the British Museum, London.
English: Double herm of Homer (Apollonius of Tyana type) and Menander. Pentelic marble, Roman copy from the Neronian or Flavian period after a Hellenistic originals. From the Barbuta area in Rome.
Français : Double pilier hermaïque représentant Homère (du type d'Apollonius de Tyane) et Ménandre. Marbre du Pentélique, copie romaine d'époque néronienne ou flavienne d'après des originaux hellénistiques. Provenance : zone de Barbuta, Rome.
Source/Photographer Jastrow (2006)
Augustus. 27 BC-AD 14. AR Denarius (18mm, 3.85 g, 5h). Spanish mint (Colonia Patricia?). Struck 19-18 BC. Laureate head right / Temple of Mars Ultor: domed, hexastyle temple with acroteria set on podium of three steps; within, aquila between two signa. RIC I 105a; RSC 190.
Augustus (Emperor from 27 BC to AD 14)
Circa 20 BC for the head. First third of the second century AD for the draped body.
Velletri (Italy)
Rome (Italy)?
Marble, free-standing sculpture
H. 2.07 m
Former Giustiniani collection; former Vatican collection. Acquired by Napoleon (Treaty of Tolentino), 1797. Exchanged in 1815.
Inventaire MR 100 (n° usuel Ma 1212)
Greek, Etruscan, and Roman Antiquities
Augustus (Emperor from 27 BC to AD 14)
The head of this statue of Augustus resembles the head of the statue (dated 20 BC) found in Livia's villa in Prima Porta, showing the emperor wearing a cuirass. In the eighteenth century the head was joined to a toga-clad body which is generally attributed to the Hadrianic period. The portrait is a prime example of Roman Augustan art: classical Greek idealism and Roman republican verism combine to extol the qualities of the emperor who restored peace and order to Rome.
Courtesy David Emery