View allAll Photos Tagged classicalart
Cornelia Cosme.
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...
AGRIPPINA SENIOR, wife of Germanicus, mother of Gaius (Caligula). Died 33 AD. Æ Sestertius (28.08 gm, 7h). Rome mint. Struck under Claudius, 42-54 AD. Draped bust right / Legend around large S C. RIC I 102 (Claudius); von Kaenel Type 78; BMCRE 219 (Claudius); Cohen 3.
Octavian. 28 BC. AR Cistophorus (27mm, 11.76 g, 1h). Ephesus mint. Laureate head right / Pax standing left, holding caduceus; behind her, serpent emerging from cista mystica; all within laurel wreath. RIC I 476; Sutherland Group I, - (O17/R-); CRI 433; RPC 2203; RSC 218.
This was the first cistophorus minted in Asia in more than a decade and marked the beginning of a huge output of cistophori during the subsequent decade. Here, for the first time, Octavian is depicted as laureate, an obvious reference to Apollo. The obverse legend reads “Champion of the Liberty of the Roman People” and the figure of Pax on the reverse alludes to the peace resulting from Octavian’s triumphs.
The emphasis on Apollo is also marked by two changes in design from previous cistophori. The cista mystica - a common symbol in the cult of Dionysus that was prominently featured on the obverse of previous cistophori - is significantly reduced, and the reverse is no longer encircled by the Dionysiac garland of ivy, but by Apollo’s laurel wreath.
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.
Escultura de Príapo, dios de la fecundidad.
Cultura romana.
Siglo II-III d. C.
Museo de Arqueología de Barcelona.
Clearly an Augustan hairstyle with the facial physiognomy of Gaius Caligula, so a Caligula, back to Augustus?
Nero. AD 54-68. Æ Sestertius (33mm, 24.45 g, 7h). Rome mint. Struck circa AD 66. Laureate head left / Roma seated left on cuirass, holding Victory and parazonium; shields behind. RIC I 330; WCN 163.
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. 32-31 BC. AR Denarius (3.84 g, 1h). Italian (Rome?) mint. Bare head right / CAESAR DIVI F across field, Venus standing right, half-turned from spectator and with drapery covering only her lower thighs, holding transverse scepter in left hand, resting left elbow on column, and holding helmet in right hand; on left, shield with star motif set on ground, leaning against column. RIC I 250a; CRI 395; RSC 62; BMCRE 599 = BMCRR Rome 4333; BN 19-22.
Lepidus and Octavian. 43 BC. AR Quinarius (13mm, 1.90 g, 9h). Military mint with Antony and Lepidus in Transalpine Gaul. Lituus, capis, and raven / Victory standing right, crowning trophy. Crawford 489/4; CRI 121; Sydenham 1159; RSC 82 (Mark Antony). cngcoins.com
A ROMAN BRONZE FIGURE OF A GODDESS
CIRCA 1ST CENTURY A.D.
Probably Fortuna, standing wearing an himation draped around below her waist, over a long chiton, her hair drawn back under a diadem and into a chignon, with remains of a modius, her head turned to the right, mounted, 4¼ in. (10.8 cm.) high; and a group of mainly Roman bronze figures and attachments including a figure of Isis-Fortuna, crowned by a sun disc between horns and feathers, holding a laden cornucopia and a rudder, 2¾ in. (7 cm.) high; a circular vessel or lamp lid with a dramatic mask in relief surrounded by an incised berried foliate tendril, 3 7/8 in. (9.8 cm.) long; and a small miniature juglet pendant, mounted, 2 in. (5 cm.) high, all 1st-3rd Century A.D. (9)
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
ASIA MINOR, Uncertain. Augustus. 27 BC-AD 14. Æ 28mm (27.24 g, 11h). Bare head right / Spear, sella quaestoria, and fiscus, Q below sella. RPC I 5409; AMNG II 29 (Pella) note; FITA 13-19 (Thessalonica[?]).
Ex Malter 34 (13 December 1986), lot 341; Thomas Ollive Mabbott Collection (Part I, H. Schulman, 6 June 1969), lot 387.
The similarity of this coin's reverse to that of Aesillas led to the earlier attribution of this issue to Macedonia. Unlike the more typical club of Hercules, the presence of a spear (hasta) suggested the issuer to be an as-yet-unknown quaestor propraetore, who, unlike Aesillas, would have held the power of imperium. Based on this assumption, Grant gave the issue to M. Acilius at Thessalonica, whom he tentatively identified as Caesar's governor of Macedonia in the final year of the Dictator's life.
The style of the portrait is identical to a coin of the possible Cilician Colonia Iulia Veteranorum (RPC I 4082). That coin bears the additional obverse legend PRINCEPS FELIX, a title which clearly identifies the portrait as Augustus. Imhoof-Blumer and Grant both assigned the forementioned issue and our coin to the southwestern areas of the Black Sea, but to date no specimen of our coin has turned up in sites there, as one might expect if that region were its point of origin. The patination, typical of Syria, may lend support for locating this coin there; at present the lack of conclusive evidence seems to preclude a more certain attribution.
IONIA, Smyrna. Nero and Agrippina. AD 54-68. Æ 20mm (4.38 g). Aulos Gessios Philopatris, magistrate. Struck AD 54-59. Draped bust of Agrippina on left vis à vis laureate head of Nero on right / Nude winged Nemesis right, holding caduceus, serpent at her feet. RPC I 2479; Klose XXXIII, 35 (V9/R33).
#raphaellosantzio #renaissance #highrenaissance #famouspaintings #classicalart #classicalpaintings #raphaelsanti #raffaellosanzio #raphael #raffaello #saintmichael #saintmichaelslayingthedemon #saintmichaeloverthrowingthedemon #drawing
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
141: Caligula Haupttypus- HAIR SCHEMA
The forelock has a fork on the approach of the left eyebrow. From this it is removed from bifurcation outwardly, whereby a closed end boundary is formed which increases towards the sides. The curls in the middle section are considerably thicker than the laterally adjoining which are turned inwards, so that the form on the front corners of small pliers. The temple hair is slicked back, just as the short hair in the ears, the tips but are performed in a semi-circle to the front; physiognomically the portrait is by a long-drawn upwards broadly unloading skull, a high, steep forehead, from the hairline edged rising eyebrows , in an almost straight nose with barely recessed approach and tuber-like top and a receding lower lip and a tight, strong chin, the head turn can not be discerned with certainty, however, is most likely a slight turn to the right.
Type - main designation: Caligula Haupttypus
Type - auxiliary designation(s): "Fulda Type" bzw. "Kopenhagen Type" (Johansen); "Typus Fasanerie" (Hertel); “Ritratto dell’ Adolescenza" bzw. "Ritratto dell’Apoteosi" (Fabbrini); "The Young Emperor" bzw. "The Mourning Emperor" bzw. "The Despot" (Poulsen)
Das Stirnhaar weist eine Gabelung über dem Ansatz der linken Braue auf. Von dieser Gabelung aus ist es nach außen gestrichen, wodurch eine geschlossene Stirnbegrenzung entsteht, die zu den Seiten hin ansteigt. Die Locken im Mittelteil sind deutlich dicker als die seitlich anschließenden, welche nach innen gedreht sind, so daß sich an den Stirnecken kleine Zangen bilden. Das Schläfenhaar ist zurückgekämmt, ebenso das kurze Haar vor den Ohren, dessen Spitzen aber im Halbkreis nach vorne geführt sind; Physiognomisch ist das Portrait durch einen langgezogenen, nach oben hin breit ausladenden Schädel, eine hohe, steile Stirn, vom Ansatz an kantig ansteigende Brauen, eine annähernd geradlinige Nase mit kaum vertieftem Ansatz und knollenartiger Spitze sowie eine fliehende Unterlippe und ein knappes, kräftiges Kinn gekennzeichnet; Die Kopfwendung läßt sich nicht mit Sicherheit ausmachen, am wahrscheinlichsten ist jedoch eine leichte Wendung nach rechts.
Bibliography:
D. Boschung, Die Bildnisse des Caligula , Das römische Herrscherbild I 4, (1989)
L. Fabbrini, Caligola: Il Ritratto dell’ Adolescenza e il Ritratto dell’ Apoteosi in: RM 73/74, 1966/67, 134-146
F. Johansen, The Sculpted Portraits of Caligula in: Ancient Portraits in the J. Paul Getty Museum 1, Occasional Papers on Antiquities 4 (1987) 87-106
V. Poulsen, Portraits of Caligula in: ActaArch 29, 1958, 175-190
H. Jucker, Caligula in: ArtVirg 1973, 2, 16- 25
D. Boschung, Die Bildnisse des Caligula , Das römische Herrscherbild I 4, (1989)
L. Fabbrini, Caligola: Il Ritratto dell’ Adolescenza e il Ritratto dell’ Apoteosi , RM 73/74, 1966/67, 134-146
F. Johansen, The Sculpted Portraits of Caligula, in: Ancient Portraits in the J.Paul Getty Museum 1, Occasional Papers on Antiquities 4 (1987) 87-106
V. Poulsen, Portraits of Caligula , in: ActaArch 29, 1958, 175-190
D.Hertel, Caligula-Bildnisse vom Typus Fasanerie in Spanien, in: MM 23, 1982, 258-295
H. Jucker, Caligula, ArtVirg 1973, 2, 16- 25
D. Hertel, Caligula-Bildnisse vom Typus Fasanerie in Spanien, in: MM 23, 1982, 258-295
ACTUAL PORTRAIT -
Bibliography:
C. Anti, Il Regio Museo Archeologico nel Palazzo Reale di Venezia (Rome 1930) 122 f Cat. no 27;
J. Banko - P. Sticotti, AEM 18, 1895, 65;
D. Boschung, The portraits of Caligula . The Roman ruler image I 4 (Berlin 1989) 108 Cat. no 4 Pl 4, 1-4;
H. Dütschke, ancient statues in northern Italy. Ancient statues in Vicenza, Venice, overshadowing, Modena, Parma and Milan V (Leipizig 1882) Cat. no 326;
D. Hertel, Caligula-portraits of the type of pheasant in Spain. An archaeological contribution to the history of the Emperor Caius , MM 23, 1982, 268 Cat. no 5;
Z. Kiss, L'iconographie the princes julio-claudiens au temps d'Auguste et de Tibère (Warsaw 1975), 152 Ill. 549th 550;
A.-K. Massner, portrait alignment. Studies on the genesis and performance history of Augustus portraits. The Roman ruler image IV (43 BC - 68 AD) (Berlin 1982) 109 Pl 25 a;
F. Poulsen, problems of Roman iconography (Copenhagen 1937) 44 note 3;
V. Poulsen, Portraits of Caligula , ActaArch 29, 1958, 179 f Cat. no 5;
G. Traversari, Archaeological Museum of Venice. I Ritratti (1968) 40 f 20 a-c Ill. Cat. no 20; USED UNDER DAI CC GUIDELINES. arachne.uni-koeln.de/drupal/?q=node/199 Foto K. Buri, Bern
Augustus. 27 BC-AD 14. AR Quinarius (1.86 g, 6h). Emerita mint. P. Carisius, legate. Struck circa 25-23 BC. Bare head left / Victory standing right, placing wreath on a trophy consisting of helmet and cuirass; at base of trophy, dagger and sword hilt. RIC I 1b; RSC 387; BMCRE 295 = BMCRR Spain 123-124; BN 1072-1076.
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.
Estela funeraria de un legionario romano.
Cultura romana.
S. III d. C.
Museo Arqueológico de Barcelona.
Erich Mercker 'Bridge Construction Cologne-Mülheim, Germany II', The Grohmann Museum, 'Man at Work' collection, Milwaukee, Wisconsin
ROMAN MARBLE HEAD OF A PATRICIAN WOMAN
Her hair in two rows of drilled curls across the brow.
Ex French collection.
1st Century AD
H. 5 1/2 in. (14 cm.)
Educational use only
Arthur Johann Severin Nikutowski 'At the Fair', 1982, The Grohmann Museum, 'Man at Work' collection, Milwaukee, Wisconsin
A ROMAN GOLD SNAKE RING
CIRCA 1ST CENTURY B.C.
With coiled body and outward-turned head, its tail looped back, remains of incised markings around the head, ¾ in. (2 cm.) across inner hoop; and a diamond-shaped gold pendant with cornelian, turquoise and green stone central inlays, decorated with granulation, twin circular mounts for inlay at each corner (now missing), with double tubular attachment loop at rear, repaired, 1st Century B.C./A.D., 1 7/8 in. (4.8 cm.) across (2)
educational use only
Octavian August as Jupiter.
Marble. First quarter of the 1st century.
Saint-Petersburg, The State Hermitage Museum.
educational use only
Bust of August in civic wreath (corona civica).
Marble. Ca. 40—50 A.D.
Munich, Glyptotek.
educational use only
Presently located:
Korinth, Griechenland, GR, Archäologisches Museum. Inv. no. 27 (S 1088)
- Location information is Aufbewahrungsort -
Provenience:
Griechenland, Korinth, Basilika, 27. 11. 1914
Category/Cultural Era/Function:
Rundplastik; Portrait
Cultural era: römisch
Ancient place of setup: Korinth, Basilika an der Ostseite der Agora
Dating:
Replik: caliguläisch, 1. Cent. n. Chr.
Preservation:
vollständig
Ränder der über den Kopf gezogenen Toga, der Ohren und des Halses beschädigt
Reworking: ergänzt
Modern reworking: Nase
Technique:
Technique: Bildhauerei
Measurements / Material:
Material: Marmor
Bibliography:
D. Boschung, Die Bildnisse des Caligula. Das römische Herrscherbild I 4 (Berlin 1989) 122 f. Cat. no. *77;
D. Boschung, Gens Augusta: Untersuchungen zu Aufstellung, Wirkung und Bedeutung der Statuengruppen des julisch-claudischen Kaiserhauses. MAR 32 (Mainz 2002) 65 Cat. no. 17.4 Pl. 51, 2. 4;
J. Charbonneaux, RA 29/30, 1948/49, 175 Ill. 3;
L. Curtius, Ikonographische Beiträge VIII: Jugenbildnisse des Tiberius, RM 50, 1935, 278;
L. Curtius, MdI 1, 1948, 91 Cat. no. A Pl. 36, 2;
L. Fabbrini, Caligola. Il ritratto dell\'adolescenza e il ritratto dell\'apoteosi, RM 73/74, 1966/67, 138;
K. Fittschen, in: G. Bonamente – M. P. Segoloni (Hrsg.), Germanico: La Persona, la Personalità, il Personaggio. Atti del Convegno, Macerata 9-11 maggio 1986 (1987) 217 Pl. 12, 46;
J. Inan – E. Rosenbaum, Roman and Early Byzantine Portrait Sculpture in Asia Minor, 2. Aufl. (1970) 102 Note 3;
F. P. Johnson, AJA 30, 1926, 158 ff.;
F. P. Johnson, Sculpture, Corinth IX (1931) 76 f. Cat. no. 137;
V. Poulsen, Studies in Julio-Claudian Iconography, ActaArch 17, 1946, 37 Note 152;
E. H. Swift, AJA 25, 1921, 248 ff. Pl. 8. 9;
R. Trummer, Die Denkmäler des Kaiserkults in der römischen Provinz Achaia (1980) 138 Ill. 34;
C. C. Vermeule, Roman Imperial Art in Greece and Asia Minor (Cambridge 1968) 194 Note 38 Ill. 123;
Prof. Ernst Linnenkamp 'On the Converter Platform', 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
Nero. AD 54-68. AR Denarius (18mm, 3,28 g, 5h). Rome mint. Struck AD 68. Laureate head right / Aquila between two signa. RIC I 68; RSC 356.
This photo was sent to me by Karl and is a wonderful portrait of I believe Nero as a youth, although the togatus corpus is from a later period , and there is restoration, I have never seen this portrait before and thought it was well worth adding to the group. See more here: www.flickr.com/groups/348069@N25/discuss/72157631634535317/
Denarius 15/13, Lugdunum. AVGVSTVS - DIVI F Bare head to l. Rev. Soldier with parazonium on l., presenting branch to Augustus seated on platform on r. IMP X in exergue. 3,73 g. RIC 162b. BMC 449 note. C. 131.
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 STEELYARD WEIGHT: DIADEMED FEMALE BUST
Probably a portrait of Antonio Minor, daughter of Mark Anthony, a veil on the back of her head. Her right shoulder is bare and the bust is covered by a sensuously draped chiton.
Cf. W.R. Megow, Cameos from Augustus to Alexander Severus, 1987, pl. 7 D 13 - D 18.
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.
Ex Austrian collection.
Ca. AD 30-50
H. 6 7/8 in. (10 cm.) 755 gr.
Augustus. 27 BC-AD 14. AV Aureus (7.77 g, 6h). Spanish mint - Emerita. Struck 19-18 BC. CAESAR AVGVSTVS, bare head right / SIGNIS above, RECEPTIS below, S P Q R around, round shield inscribed CL • V; aquila and signum flanking. RIC I 85a; Calicó 274a (this coin illustrated); BMCRE 416 = BMCRR Rome 4396; BN 1130.
PHRYGIA, Philomelium. Agrippina Junior. Augusta, AD 50-59. Æ 25mm (11.80 g). Brocchoi, magistrate. Struck AD 50-54. Draped bust right / Tripod between vexillum and palm; star above. RPC I 3246.6 (this coin); SNG Copenhagen -; SNG von Aulock 3920.
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.
AGRIPPINA SENIOR, wife of Germanicus, mother of Gaius (Caligula). Died 33 AD. Æ Sestertius (35mm, 28.83 g, 7h). Rome mint. Struck under Claudius, 42-54 AD. AGRIPPINA M F GERMANICI CAESARIS, draped bust right, hair in long plait / TI CLAVDIVS CAESAR AVG GERM P M TR P IMP P P, large S C across fields. RIC I 102 (Claudius); von Kaenel 730 (V596/R660); BMCRE 219 (Claudius); Cohen 3.
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
Procedente de Xantos, Licia.
470-460 a. C.
Museo Británico.
More information: en.wikipedia.org/wiki/Harpy_Tomb
A ROMAN EMERALD RING STONE
CIRCA LATE 1ST CENTURY B.C.-1ST CENTURY A.D.
The oval stone engraved with a portrait of a Julio-Claudian prince in profile to the right, a laurel wreath in his hair, the ties falling in back
3/8 in. (.9 cm.) long
For Educational Use ONly
Beautiful Julio Claudian Art from the Augustan Period.
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.
IONIA, Smyrna. Nero, with Agrippina. AD 54-68. Æ 19mm (5.39 g). Aulos Gessios Philopatris, magistrate. Struck AD 54-59. Draped bust of Agrippina on left vis à vis laureate head of Nero on right / Nude winged Nemesis right, holding caduceus, serpent at her feet. RPC I 2479; Klose XXXIII (V2/R?).
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 (3.82 g, 6h). Spanish mint - Tarraco. Struck circa 18 BC. CAESARI AVGVSTO, laureate head right / S • P • Q • R • in exergue, Temple of Mars Ultor: round-domed, tetra-style temple set on podium of three steps; within, is a chariot, carrying an aquila and a miniature, galloping quadriga right. RIC I 115; RSC 280; BMCRE 389 = BMCRR Rome 4427; BN 1219-21.