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Augustus. 27 BC-AD 14. AR Denarius (20mm, 3.54 g). Emerita mint. P. Carisius, legate propraetore. Struck circa 25-23 BC. Bare head left / Trophy on heap of arms. RIC I 4b; BMCRE 284; RSC 402. VF, banker’s mark on obverse,
Tiberius & Germanicus Gemellus. AD 19-37/8 and 19-23/4, respectively. Æ Sestertius (25.99 g, 12h). 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).
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
He married Antonia in 18/16 BC and fathered Germanicus, Livilla and Claudius. He was an exceptional soldier and beloved by his brother, the future emperor Tiberius, as well as Augustus. Antonia refused to marry again and outlived him by 46 years.
For Nero Claudius Drusus under Claudius. Aureus 41/45, Rome. NERO CLAVDIVS DRVSVS GERMANICVS IMP Laureate head of Nero Drusus to l. Rev. Triumphal arch, on architrave DE / GERM. On top equestrian statue of Nero Drusus to r., with flying cloak and spear in r. hand. On l. trophy with captive German, hands tied behind back, to r. On r. trophy with captive German seated facing, cross-legged and hands tied behind in back. 7, 74 g. Calicó 315. RIC 69. BMC 95. C. 1.
English: Goddess Ceres. Sitting statue sculpted in marble towards the 1st century CE. It is at the National Museum of Roman Art of Merida. There is a copy in front of the Roman Theatre of the same city.
Español: Diosa Ceres, estatua sedente realizada en mármol hacia el siglo I d.C. Se encuentra en el Museo Nacional de Arte Romano de Mérida. Existe una copia en la fachada del Teatro Romano de la misma ciudad.
Date 7 April 18(0018-04-07)
Source Own work
Author Óscar Marín Repoller
LYDIA, Philadelphia. Tiberius Gemellus(?), co-heir of Tiberius. Æ 16mm (3.18 gm). Struck circa 35-37 AD. TIBERION [CEBACTON], bare head of Tiberius Gemellus(?) right / N[EO]KEC"PEIC, winged thunderbolt. RPC I 3017 (same obverse die as those plated); SNG Leypold 1111 (same dies); SNG Copenhagen 373 (same obverse die). Extremely rare. See Classical Numismatic Group Auction 47 (16 September 1998),
Tiberius Gemellus was born in 19 AD as twin brother to Germanicus Gemellus. They were the sons of Livilla, the sister of Germanicus and Claudius, and given to her husband Drusus, the son of the emperor Tiberius. However, it is probable that they were actually fathered by Sejanus, the ambitious prefect of Tiberius. During the last years of Tiberius' life, his options for a youthful heir had narrowed to his only 'grandson' Tiberius Gemellus and his grandnephew Caligula. Both young men were adopted as co-heirs in 35. However, when Tiberius died in 37, the prefect Macro declared Caligula to be the new emperor, just as the two had pre-arranged. For appearances' sake, Tiberius Gemellus was hailed princeps iuventutis, but within months was executed for treason. Suetonius tells us that that the smell on the unfortunate boy's breath was not a poison antidote, but merely a cough medicine. This portrait is especially important because it depicts him not as a child, but as a teen and heir to the throne. All of the coins from this issue share the same obverse die. cng
Nero. AD 54-68. Æ As (24mm, 6.98 g, 6h). Rome mint. Struck circa AD 64. Radiate head right / Nero, as Apollo Citharoedus, advancing right, playing lyre; I. RIC I 211; WCN 272.
Nero felt his musical talents were a wonder to behold and so shared them with everyone he could force to listen. He won prizes at every competition at which he performed while touring Greece, and upon his return to Italy, he led a procession to the capital where he was cheered by the incredulous spectators along the way. He caused to be set up many statues of himself playing the lyre along the route, and Suetonius even mentions a coin with the same device. This is no doubt that same type.
Constantin-Emile Meunier 'The Old Miner', The Grohmann Museum roof top sculptures, 'Man at Work' collection, Milwaukee, Wisconsin
Italiano: Roma, museo dell'Ara Pacis: ritratto di Antonia Minore. Dalla collezione di calchi di ritratti dei componenti della dinastia Giulio-Claudia. L'originale, di età augustea (27 a.C.-14 d.C.), è nel museo di Palazzo Massimo alle Terme (Roma). Foto di Giovanni Dall'Orto, 28 marzo 2008.
English: Rome, Ara Pacis museum: cast of a portrait of Antonia Minor. From the collection of casts of busts showing the members of the Julio-Claudian dynasty. The original artwork is exhibited in the Palazzo Massimo alle Terme museum (Rome). Picture by Giovanni Dall'Orto, March 28 2008.
Friedrich Nerly (The Elder) 'Transporting Marble to the Sculptor Thorwaldsen in Rome', The Grohmann Museum, 'Man at Work' collection, Milwaukee, Wisconsin
A LATE HELLENISTIC OR ROMAN BRONZE HEAD OF AN AFRICAN
CIRCA 1ST CENTURY B.C.-1ST CENTURY A.D.
The youthful male naturalistically depicted, his hair composed of rows of short echeloned curls, the brow furrowed, the lidded eyes articulated, with a broad nose and full lips, the cheek bones pronounced, the chin square
3¼ in. (8.3 cm.) high
educational use only
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
Inscripción sepulcral de la tumba dedicada a Buturas por su hijo Neo.
Siglo II-III d. C.
Necrópolis romana.
Vía sepulcral de la Plaza de la Villa de Madrid.
Barcelona.
Hispania Epigraphica:
www.eda-bea.es/pub/record_card_2.php?refpage=%2Fpub%2Fsea...
Julio-Claudian bronzes. Germanicus, as, Rome, AD 37–38, bare head of Germanicus left / inscription around S C (RIC 35). Agrippina Sr., sestertius, Rome, AD 42, draped bust of Agrippina Sr. right / inscription around S C (RIC 102).
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.
Francois Nicolas Augustin 'Study for Return of the Oyster Fishers at Cancale', 1874, 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
LYDIA, Tralles. Vedius Pollio. Circa 29/8-27 BC. Æ (21mm, 5.37 g, 12h). Menandros, son of Parrhasios, magistrate. Bare head of Vedius Pollio right; uncertain object behind / Laureate head of Zeus right. RPC I 2635; SNG Copenhagen 688.
An equestrian and confidant of Augustus, Vedius Pollio seems to have had an important administrative career, serving in the restoration of a proconsular government in Asia and possibly even in the refoundation of Tralles as Caesarea. His personal cruelty, especially toward slaves, however, more than matches his public deeds, as he is said to have thrown slaves with whom he was displeased into a pool of lampreys which he kept for such acts. cngcoins.com
Augustus. 27 BC-AD 14. AR Denarius (3.60 g, 6h). Spanish mint (Colonia Patricia?). Struck 17-16 BC. Bare head right / Capricorn right, holding globe attached to rudder between front hooves; cornucopia on its back. RIC I 126; RSC 21; BMCRE 346-348 = BMCRR Rome 4374-4376; BN 1266-1267.
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, with Divus Augustus. AD 14-37. AV Aureus (7.88 g, 4h). Lugdunum (Lyon) mint. Struck AD 14. Laureate head of Tiberius right / Laureate head of Divus Augustus right; star above. RIC I 24; Lyon 118 (unlisted dies); Calicó 311. cngcoins.com
Mark Antony and Octavian. Spring-early summer 41 BC. AR Denarius (18mm, 3.52 g, 11h). Ephesus mint. M. Barbatius Pollio, quaestor pro praetore. Bare head of Mark Antony right / Bare head of Octavian right. Crawford 517/2; CRI 243; Sydenham 1181; RSC 8.
Antonia Minor. Augusta, AD 37 and 41. AV Aureus (20mm, 7.82 g, 5h). Lugdunum (Lyon) mint. Struck under Claudius, AD 41-42. Draped bust right, wearing grain ear wreath / Antonia, as Constantia, standing facing, holding long torch and cornucopia. RIC I 65 (Rome mint; Claudius); Calicó 318a.
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
Copia romana del 50 d. C de un original perdido de Policleto del 440 a. C aproximadamente.
Museo Británico.
Roman
British Museum
30 - 55
Over life sized head with a wreath of laurel leaves and flowers. Most of the tip of the nose is lost, some damage to the face and most of the back of the head has broken away.
Medium: marble
Dimensions: 32 cm
Grant Paid: £50,000 ( Total: £103,000)
ArtFunded in: 2000
Vendor: Sotheby's
Provenance
Hotel Drouot, PAris, 19-21 May 1910, lot 39 (collection of Dr B and Mr C), said to be from Sicily; Sotheby's, London, 13 June 1996, lot 170; Aldorf collection
Photo Courtesy David Emery
Messalina
This double portrait represents Messalina, wife of the emperor Claudius (AD 41-54), with her young son Britannicus. Messalina was notorious for her wantonness and ascendancy over her husband; here, she is portrayed as a respectable Roman matron, in a work comparing her directly with a Greek goddess: the mother and child image was inspired by a famous sculptural group of Eirene and Ploutos (Peace and Wealth), created by the Greek sculptor Kephisodotos during the fourth century BC.
Description
Messalina holding Britannicus
The statue was found near of Rome, and adorned the gardens of the palace of Versailles during the reign of Louis XIV before entering the Louvre after the Revolution. It represents Messalina, wife of the Roman emperor Claudius, who reigned from AD 41 to 54. The young woman is holding her son Britannicus, who sits on her left arm, his legs wrapped in drapery. The little boy (whose head is modern) is stretching his right hand toward his mother's youthful face in a gesture of affection, while Messalina looks away, with a distant expression. Messalina is portrayed as a respectable Roman matron with a sophisticated hairstyle, elegantly dressed in ample drapery which also covers her head.
A woman of power - and great promiscuity
Despite the statue's appearance, Messalina was hardly renowned for her virtue. In fact, history and ancient authors alike portray her as a highly promiscuous woman who took advantage of her husband's weakness to gain absolute ascendancy over him. According to Juvenal, she went so far as to prostitute herself, and cuckolded Claudius by marrying her lover, a young noble called Caius Silius. The emperor learned of this scandal and, infuriated by his wife's debauchery, had her executed in the Gardens of Lucullus in Rome in AD 48. This official portrait, which was made circa AD 45, gives no indication of the empress's dissolute lifestyle. Her clothing and posture assimilate her to a goddess, in accordance with a type of representation reserved during the first century AD for members of the imperial family alone.
An echo of classical Greek art
Classical Greek art was highly favored in official Roman circles from the reign of Augustus, and its influence is clear in this deified image of the mother and child. The Roman sculptor took his inspiration from a famous work by the Greek Kephisodotos, from the early fourth century BC: Eirene holding the child Ploutos (a divine allegory of Peace and Wealth). A copy of this group (the most complete of its many Roman replicas) may be seen in the Munich Glyptothek. A comparison with the group of Messalina and Britannicus highlights the latter's classical inspiration, despite certain liberties that were taken with the Greek model. The rendering of the drapery, for example, differs from the work of Kephisodotos, but recalls the traditionally-styled drapery of a statue of Hera, whose original (also from the fourth century BC) is known through several replicas.
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.
Augustus. 27 BC-AD 14. AR Denarius (18mm, 3.74 g). Spanish mint - Tarraco. Struck circa 19 BC. Bare head left / [IO]VIS TON, Jupiter standing left within hexastyle temple, holding thunderbolt and scepter. RIC I 64 var. (IOV-TON); BMCRE 363 note var. (same); RSC 180a.
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. Æ As (25mm, 9.92 g). Lugdunum (Lyon) mint. Struck circa 15-10 BC. Laureate head right; countermark: VA (Varus) monogram within square incuse / Altar of Lugdunum, flanked by Victories on columns. RIC I 230; for c/m: cf. Grünwald p. 130, type X, 70; Howgego -.
Publius Quinctilius Varus was one of the most celebrated of Augustus’ generals. He had been consul in 13 BC (along with the future emperor Tiberius), governor of Syria, where he had sent two legions into Judaea to quell local unrest after the territory was converted to a Roman province, and subsequently governor of Germania. By AD 9, Augustus had decided to straighten (and thereby shorten) Rome’s borders by conquering the vast region of Germania beyond the Rhine. He assigned Varus to develop the region without war, but the mixed Gauls and Germans living there were not prepared to accept Romanization. The Cherusci, under their king Arminius, along with other allies, ambushed Varus in the Teutoburg Forest of northwest Germany, and there annihilated the XVII, XVIII and XIX Roman legions in a pitched battle that lasted for three days. Varus, sensing doom, committed suicide, and when Augustus heard of the disaster, it is said that he tore his clothes and screamed, “Varus, give me back my legions.” No further attempts were made to subdue the Germans beyond the Rhine until the reign of Domitian, and Varus was blamed for the collapse of imperial policy in Germany. The reverse of this coin features the celebrated Altar of Lugdunum, which had been dedicated by Augustus on 1 August 10 BC. With the exception of one coin, all known examples of Varus’ countermark appear on this coin type, and only on the earliest issues within the type.
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.
Getty Bisagni 'Misfortune at the Mine', The Grohmann Museum, 'Man at Work' collection, Milwaukee, Wisconsin
Barent Pietersz Fabritius 'The Slaughtered Pig', The Grohmann Museum, 'Man at Work' collection, Milwaukee, Wisconsin
ROMAN MARBLE HEAD OF NIOBE
The ill-fated queen of Thebes, whose children were slaughtered by Apollo for her hubris.
Ex Meyer family collection, Zurich, Switzerland, acquired in the 1970s.
Later 2nd Century AD
H. 9 7/8 in. (25 cm.),
Art of the Ancient World, 2006, no. 20
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.
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
Nero. AD 54-68. Æ Sestertius (25.36 g, 7h). Lugdunum (Lyon) mint. Struck circa AD 67. Laureate head right, globe at point of bust / DECVRSIO, Nero on horseback riding right, holding spear; behind him, soldier on horseback right, holding vexillum. RIC I 581; WCN 462; Lyon 259.
The decursio was a military training exercise which acquired ceremonial pageantry. The decursio Troiae was an equestrian event and may have been connected to the earlier Republican transvectio equitum, a ceremony Augustus reinstituted. A similar decursio appears on the base of the Column of Antoninus Pius.
Augustus. 27 BC-AD 14. AR Denarius (19mm, 3.71 g). Lugdunum (Lyon) mint. Struck circa 8 BC. Laureate head right / Caius Caesar on horseback right, holding sword, shield, and reins; legionary eagle between two standards behind. RIC I 199; RSC 40.
English: Detail of a sitting statue of Livia Drusilla (58 BC–29 CE). Sculpted in marble in the first quarter of the 1st century. Found in Paestum (Campania, Italy) in 1860 during an excavation financed by José de Salamanca y Mayol.
Español: Detalle de una estatua sedente de Livia Drusilla (58 a.C.–29 d.C.). Esculpida en mármol en el primer cuarto del siglo I. Encontrada en Paestum (Campania, Italia) en 1860 durante una excavación financiada por el marqués de Salamanca.
Dimensions English: Statue's height: 177 cm.
Español: Altura de la estatua: 177 cm.
Credit line English: From Salamanca Collection, purchased in 1874.
Español: De la Colección Salamanca, comprada en 1874.
Accession number 2737
Location English: Level 0, Rome, room 21.
Español: Nivel 0, Roma, sala 21.
Français : Niveau 0, Rome, salle 21.
References Museum's website – Web del museo – Site du musée
Antonio García Bellido: La Livia y el Tiberio de Paestum, en el Museo Arqueológico Nacional de Madrid
Source/Photographer Luis García (Zaqarbal), 14 May 2006(2006-05-14).
Escultura de Príapo, dios de la fecundidad.
Cultura romana.
Siglo II-III d. C.
Museo de Arqueología de Barcelona.
Titus. As Caesar, AD 69-79. AV Aureus (19mm, 7.19 g, 12h). Rome mint. Struck AD 73. T CAES IMP VESP CEN, laureate head right / VES-TA, Temple of Vesta: round-domed, tetrastyle temple, four steps leading up to it; statue of Vesta dancing within, flanked by statue to left and right of Temple. RIC II 557 (Vespasian); Calicó 794; BMCRE 120 note; BN 98-9 (Vespasian). cngcoins.com
Renowned danseuse from Kolkata Rani Karna Nayak's dance troupe performing at the Purana Quila (Old Fort), New Delhi.
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