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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

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

Sextus Pompey Portrait by Joe Geranio

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Sextus Pompey. 42-40 BC. AR Denarius (18mm, 3.94 g, 11h). Uncertain Sicilian mint, possibly Catana. MAG. PIVS IMP. ITER, bare head of Pompey the Great right; jug behind; lituus before / PRÆF. above, CLAS. ET. ORÆ./[MAR]IT. EX. S. C. in two lines in exergue, Neptune standing left, holding aplustre in right hand, resting right foot on prow, between the brothers Anapias and Amphinomus, carrying their parents on their shoulders. Crawford 511/3a; CRI 334; Sydenham 1344; Kestner 3783-3784; BMCRR Sicily 7; RSC 17 (Pompey the Great).

Sextus Pompey, the younger son of Pompey the Great, inherited his father's vast influence and personal following. He first established himself in Spain in 44 BC as the successful leader of the anti-Caesarian forces and following the death of Caesar, the Senate, believing itself freed from the domination of the Caesarians, bestowed on Sextus the title of praefectus classis et orae maritimae (Commander-in-Chief of the Fleet and of the Sea Coasts). But, four months later the Senate was forced by Octavian and the second triumvirate to rescind this title and Sextus was proscribed. Upon receiving word of the Senate's abrogation of his commission and seeing the hostilities the Caesarians were exacting on the leading figures in Rome, Sextus set sail from Massilia in Gaul and headed for Sicily. Here he established a powerful base from which he could blockade Italy and provide a safe haven for those fleeing the proscriptions. Alarmed at the developements, Octavian sent a naval squadron under the command of Salvidienus Rufus to handle the situation, but Salvidienus was defeated off the coast of Rhegium. Following this battle, Sextus took the title of imperator iterum. Sextus would continue the republican struggle against the second triumvirate until his death in 36 BC.

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.

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

Portrait bust of a young woman possibly a sister of Caligula second quarter of the 1st century A.D. by Joe Geranio

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

DSC03017 by mrtheomichael

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National Archaeological Museum Naples DSC02089 by Chris Belsten

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Portrait bust of a young woman, possibly a sister of Caligula

second quarter of the 1st century A.D.

Roman

Julio-Claudian

Bronze

with pedastal: h. 11.9 cm. (4 11/16 in.) bust: h. 8.6 cm. (3 3/8 in.)

Museum purchase, Fowler McCormick, Class of 1921, Fund, and Carl Otto von Kienbusch, Jr. Memorial Collection Fund

Object Number: 2006-69

EDUCATIONAL USE ONLY

Berlin: Altes Museum Augustus by stuartpaterson

Objeto de la vida cotidiana by mmarftrejo

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Aldaba ¿?

Objeto de bronce

Cultura romana.

Museo Arqueológico de Barcelona

1444 Gaius Caesar (Grandson of Augustus) by Joe Geranio

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Gaius Caesar, son of Agrippa and Julia. (). Bronze 10 mm (3.48 gm). Phrygia, Hierapolis, c. 5 BC, magistrate Diphilos. ΓAIOΣ, bare head of Gaius Caesar right / IEPA - ΠOΛEITΩN ΔIΦIΛOΣ, written upwards on both sides of palm branch. RPC 2950, pl. 126, as unique in Paris, same dies. Sear 222 var. Very rare. Apparently only the second recorded specimen of Diphilos' coin for Gaius Caesar, whose portrait coins are in general very difficult to obtain.

Augustus Quadrans 22 by Joe Geranio

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Augustus. 27 BC-AD 14. Æ Quadrans (18mm, 3.00 g). Rome mint. Apronius, Galus, Messala, Sisenna, moneyers. Struck 5 BC. Legend around large S C / Garlanded altar. RIC I 453a; BMCRE 252; BN 797.

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.

303 Augustus AV AUREUS by Joe Geranio

AUGUSTUS. 27 BC-14 AD. AV Aureus (7.62 gm). Struck 27 BC. Ephesus mint. Bare head right / Eagle with spread wings standing on wreath, laurel branches behind. RIC I 277; BMCRE 656; Cohen 30.

Nero Munich 4 by Joe Geranio

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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

Nero Caesar? Christies by Joe Geranio

Lot Description

A ROMAN MARBLE PORTRAIT HEAD OF THE EMPEROR NERO

CIRCA 59-64 A.D.

Depicted with a full, fleshy face, his wavy hair brushed forward, the individual strands delineated, with a part above the right eye, the long sideburns merging with the incised light beard, his unarticulated eyes set beneath prominent brows, his lips pursed, the chin bulbous, with a thick neck, traces of gilding in the hair, perhaps from a wreath

5¾ in. (14.6 cm.) high

Provenance

Austrian Private Collection, 1970s.

Lot Notes

The Emperor Nero (Nero Claudius Caesar Augustus Germanicus) was born December 15th, 37 A.D. to Gnaeus Domitius Ahenobarbus, first cousin of the Emperor Claudius, and Agrippina Minor, sister of the Emperor Caligula. Nero was later adopted by his uncle, the Emperor Claudius, and succeeded him in 54 A.D. He was the fifth and final ruler of the Julio-Claudian Dynasty.

The light beard and part above the right eye suggest that this portrait was commissioned late in Nero's life. For more on Nero's portrait types see p. 135-139 in Kleiner, Roman Sculpture.

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

Papyrii from Germanicus by Joe Geranio

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Papyri from Egyptian rubbish dumps do not often directly involve the great leaders of the Roman state. This one is an exception, although the semi-literary hand may indicate that it was a copy for propaganda purposes rather than a true document. It records a speech to the citizens of Alexandria by an imperial visitor who can be identified as Germanicus, nephew of Tiberius, probably in AD 18 or 19.

Publication date1959

DateEarly first century

ProvenanceOxyrhynchus

LocationPapyrology Rooms, Sackler Library, Oxford

GenreHistory; Acta

FormatRoll

MaterialPapyrus

703 Augustus Denarius Vetus Moneyer by Joe Geranio

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Augustus. 27 BC-AD 14. AR Denarius (3.87 g, 9h). Rome mint. C. Antistius Vetus, moneyer. Struck 16 BC. IMP • CAES[AR • AVGVS • TR •] POT • IIX, bare head right / C • ANTISTI VETVS IIIVIR, APO-LLINI across field, ACTIO in exergue, Apollo of Actium, laureate, wearing robe falling to ankles, standing left on platform and sacrificing out of patera in right hand over a lighted and garlanded altar and holding lyre in left hand; the front or the platform is ornamented with prows and anchors. RIC I 366; RSC 343; BMCRE 95 = BMCRR Rome 4489; BN 363-4.

Fresco 11 from Golden House by Joe Geranio

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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

Alfons Mart 'Splendid Goldsmith's Workshop', The Grohmann Museum, 'Man at Work' collection, Milwaukee, Wisconsin by Hanne Therkildsen

Both are non-profit sites and for educational use only.

Roman Sculpture- Ephesus / Instanbul Set by Joe Geranio

photo courtesy David Emery

Alfons Mart 'Splendid Goldsmith's Workshop', The Grohmann Museum, 'Man at Work' collection, Milwaukee, Wisconsin

Lucio Minicio Natal by mmarftrejo

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Inscripción de Lucio Minicio Natal y de su hijo del mismo nombre.

Detalle

Museu d´Arqueologia de Catalunya.

Barcelona.

Hispania Epigraphica: www.eda-bea.es/pub/record_card_2.php?refpage=%2Fpub%2Fsea...

Epigraphik-Datenbank: edh-www.adw.uni-heidelberg.de/offen/suchen2.html?hdnr=030769

Más información: es.wikipedia.org/wiki/Lucio_Minicio_Natal

Sculpture of Livia Basalt by Joe Geranio

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Tiberius and Germanicus Gemellus RIC I 42 by Joe Geranio

This is one of my favorite coin types

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

Roman Sculpture Tiberius and Livia- Turkey by Joe Geranio

Photo courtesy David Emery

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

Mosaico by mmarftrejo

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Mosaico polícromo de teselas de mármol.

Primera mitad del siglo IV d. C.

Villa romana de Cal Ros de les cabres.

El Masnou.

Museo Arqueológico de Barcelona.

A ROMAN MARBLE CINERARY URN CIRCA LATE 1ST CENTURY A.D. by Joe Geranio

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A ROMAN MARBLE CINERARY URN

CIRCA LATE 1ST CENTURY A.D.

With an inscribed panel on the front framed below by a garland suspended by ribbons tied to the twisted horns of a ram's head at each corner, a bird below each with its head turned back, two birds below the inscribed panel, reading, "For Epitynchanus, the chief accountant of Ampliatus, a freedman of the Imperial household. He lived 20 years," the remainder of the sides and rounded back undecorated, likely placed in a niche

12½ in. (31.8 cm.) wide

educational use only

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

Villa of Livia . Wife of Augustus by Joe Geranio

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Primaporte: courtyard with environmental garden murals

ca. 30-20 B.C. Roman (Augustan period) Museo Nazionale Romano, Rome

Educational Use Only

166 AUGUSTUS DENARIUS 5 by Joe Geranio

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Augustus. 27 BC-AD 14. AR Denarius (18mm, 3.89 g). Spanish mint (Caesaraugusta?). Struck 18-17 BC. Laureate head right / Two laurel trees. RIC I 33a; BMCRE 352; RSC 47. cngcoins.com

Augustus Parium by Joe Geranio

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MYSIA, Parium. Augustus. 27 BC-AD 14. Æ 23mm (5.59 g). Bare head right / Capricorn right, head reverted; cornucopia on its back. RPC I 2263.10 (this coin); SNG France 1434; SNG von Aulock 7438.

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