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Augustus. 27 BC-AD 14. AR Quinarius (13mm, 1.68 g, 10h). Pergamum mint. Struck 27 BC. Bare head right / Victory standing left on prow, holding wreath and palm frond. RIC I 474; RSC 328.
A ROMAN BRONZE DANCING LAR
CIRCA 1ST CENTURY A.D.
Depicted standing with his weight on his advanced left leg, the right leg relaxed with the heel lifted, wearing sandals and a short tunic pinned at the shoulders, the drapery scalloping at his waist and the hem, and billowing behind, the garment revealing the form of his body below, with short wavy locks surrounding his head, which is slightly downturned to his right, the left arm raised above his head, the right lowered, both once holding attributes, affixed to the original socle plinth
7 7/8 in. (20 cm.) high
educational use only
Cupa structilis. Conserva el estuco pintado de rojo, característico de este tipo de enterramiento. En el centro aparece el titulus sepulcralis.
Quinto Julio Reposto a su hermano Quinto Julio Primigenio Reposto.
Siglo II 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...
Cn. Domitius L.f. Ahenobarbus. 41 BC. AR Denarius (19mm, 4.17 g, 6h). Uncertain mint along the Adriatic or Ionian Sea. AHENOBAR, bare head of Ahenobarbus right / CN • DOMITIVS • IMP, facing military trophy set on prow of quinquereme right. Crawford 519/2; CRI 339; Sydenham 1177; Kestner 3801; BMCRR East 94; Domitia 21.
Gnaeus Ahenobarbus and his father Lucius Ahenobarbus were members of the Pompeian faction. After the defeat of Pompey at Pharsalus and the death of Lucius in 48 BC, Gnaeus allied himself with Brutus and Cassius. This denarius marks the destruction of the fleet of Cn. Domitius Calvinus in 42 BC and the proclamation of Ahenobarbus as imperator.
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.
Dedication (of the Sebasteion?)
Βουβωνέων ἡ βουλὴ καὶ ὁ δῆ–
μος ἀφιέρωσεν διὰ Γαΐου Λι–
κινίου Μουκιανοῦ πρεσ–
βευτοῦ [[Νέρωνος]] Σεβαστοῦ
ἀντιστρατήγου.
[- - - - - - - - - - -] the council and the people of Boubon dedicated (the statue or the building) through Gaius Licinius Mucianus, provincial governor of the emperor [[Nero]].
Inscription on the pedestal at the north wall of the Sebasteion. The inscription occupies the lower part of blocks E 2 and 3.
Letters: 3.5-4 cm.
Jones 1979, no. 5 (pl. 76.1); SEG 27 (1977), no. 916; İnan 1993, pp. 218-219 (pl. XIII, E; XV; XVI.11).
L. 5 : ἀφιέρωσεν: on ἀφιεροῦν usually, though not exclusively, applied to a construction rather than a statue, see Jones 1979, p. 291.
Ll. 5-6 : C. Licinius Mucianus was a powerful statesman and military leader, and an acclaimed author of mirabilia. His reports from the "exotic" world of the eastern frontier provinces are often quoted by Pliny the Elder. On his governorship of Lycia see Thomasson 1984, p. 276, no. 30.4. The expression διὰ Γαΐου Λικινίου Μουκιανοῦ does not divulge the exact contribution of the provincial governor. Mucianus may have been the initiator of the honorary act described in the lost section, or he may have helped in one way or another in its realization; he may have led the dedication ceremony in person or through a representative, or he may have simply given his approval. In any case, to describe the dedication as having taken place "through" the governor would be to underline the absolute necessity of his consent as the representative of the emperor in the province. Whatever Mucianus' exact role had been, the local politicians in Boubon will have prefered to remove from the sanctuary a permanent reminder of that man's connection with, and service to, Nero. After his term as governor of Lycia, Mucianus governed the province of Syria and played a crucial role in the Flavians' accession to power in 69 CE. From Syria he made his way to Rome through Asia Minor to secure the throne for Vespasian. At that point the citizens of Boubon must have decided to eliminate Nero's statue and his name in the inscription, even if they had initially intended to preserve both, as they apparently did in the case of his dead wife.
Educational Use Only
Head of the emperor Nero.
From the colossal statue, height ca. 2.40 m.
Height 45 cm.
Inv. No. 321.
Marble. After 64 A.D.
Munich, Glyptotek.
educational use only
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
Augustus. 27 BC-AD 14. Æ Dupondius (28mm, 12.15 g). Rome mint. Q. Aelius Lamia, moneyer. Struck 18 BC. Legend in three lines within wreath / Legend around large S C. RIC I 324; BMCRE 176; BN 236.
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.
Antonia Minor. Augusta, AD 37 and 41. Æ Dupondius (26mm, 12.62 g, 7h). Rome mint. Struck circa AD 41-54. Draped bust right / Claudius standing left, holding simpulum. RIC I 92 (Claudius); von Kaenel Type 74.
From an over-lifesize statue, probably of Livia, wife of Augustus, wearing her mantle as a veil over her head, her face with serene expression, wide-set eyes with deep rounded inner corners, and smooth brow, her finely carved wavy hair bound in a fillet and swept up in a nodus or top-knot above the forehead and a braid over the crown.
Detalle.
Cultura romana.
Siglo I-II d. C.
Mármol de Santa Tecla.
Sant Pere. Tarragona.
Museo Arqueológico de Barcelona.
Hispania Epigraphica: www.eda-bea.es/pub/record_card_2.php?refpage=%2Fpub%2Fsea...
Tiberius. As Caesar, AD 4-14. Æ As (24mm, 11.28 g). Lugdunum (Lyon) mint. Struck AD 10. Laureate head right / Front elevation of the Altar of Lugdunum, flanked by columns surmounted by Victories. RIC I 238a (Augustus); BMCRE -; BN 1760.
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. AV Aureus (7.91 g, 8h). Lugdunum (Lyon) mint. Struck 8 BC. AVGVSTVS DIVI • F, laureate head right / C • CAES above, AVGVS • F in exergue, Caius Caesar on horseback, galloping right, holding sword in right hand and shield in left; behind him, an aquila between two signa. RIC I 198; Lyon 68; Calicó 174a; BMCRE 498-9 = BMCRR Gaul 221-2; BN 1457-60.
Portrait of Livia, the wife of the emperor Octavian August.
Marble. Second 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
ROMAN BRONZE ASKLEPIOS
God of medicine and healing, partially draped in himation.
Very fine bronze figure, based on a Hellenistic statuary type.
1st-2nd Century AD
H. 4 1/2 in. (11.5 cm.)
Gods & Mortals II, no. 48
Art of the Ancient World, 2000, no. 45
educatinal use only
ISLANDS off CARIA, Cos. Agrippina Senior. Died AD 33. Æ 24mm (7.37 g, 12h). Veiled head right / Asklepios standing facing, leaning on serpent-entwined staff. RPC 2742.1 (this coin; illus.). VERY RARE!
Nero. AD 54-68. Æ Sestertius (35mm, 24.84 g, 7h). Lugdunum (Lyon) mint. Struck circa AD 66. Laureate head right, globe at point of bust / Nero seated right on high platform; before him, an official seated right on another platform handing congiarium to togate citizen standing with one foot on a flight of steps with extended hand; small boy standing left behind him; in background, Minerva standing left, holding owl and spear; on lower level, Liberalitas standing facing, holding up tessera. RIC I 502; WCN 439.
Augustus. 27 BC-AD 14. AR Denarius (20mm, 3.69 g). Lugdunum (Lyon) mint. Struck 11 BC. Bare head right / Bull butting right. RIC I 334 (1st edition); BMCRE 469; RSC 153.
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. AV Aureus (7.87 g, 6h). Spanish mint - Tarraco. Struck circa 18 BC. CAESARI AVGVSTO, laureate head right / [M]AR VLT across field, Temple of Mars Ultor: round-domed, hexastyle temple with acroteria set on podium of three steps; within, aquila between two signa. RIC I 104; Calicó 246; BMCRE 372 = BMCRR Rome 4418; BN 1201.
Tiberius. As Caesar, AD 4-14. Æ Dupondius (27mm, 12.88 g, 12h). Lugdunum (Lyon) mint. Struck AD 13-14. Laureate head right / Front elevation of the Altar of Lugdunum, decorated with the corona civica between laurels, flanked by nude male figures; to left and right, Victories on columns, facing one another. RIC I 244 (Augustus).
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
Statue of Livia from the Villa of Mysteries. Detail.
Marble. Late 1st century B.C. — early 1st century A.D.
educational use only
Gaius (Caligula), with Divus Augustus. AD 37-41. AR Denarius (18mm, 3.77 g, 7h). Lugdunum (Lyon) mint. 1st emission, AD 37. C • CAESAR • AVG • GERM • P • M • TR • POT COS, bare head of Gaius (Caligula) right / Radiate head of Divus Augustus right, flanked by two stars. RIC I 2; Lyon 157; RSC 11; BMCRE 4-5; BN 3-8.
From the C.K. Collection. Ex Bob Levy Collection (Leu 57, 25 May 1993), lot 235; Numismatic Fine Arts XX (9 March 1988), lot 102; Crédit Suisse 4 (3 December 1985), lot 451; Numismatic Fine Arts X (17 September 1981), lot 314.
Gaius (Caligula) was the youngest son of Germanicus and Agrippina Senior. At the young age of 25 Caligula became emperor, due to the deaths of many of his family members, who would have assumed that position. He had little to commend him except the principle of dynastic loyalty. Thus, many of his coin issues focus on a dynastic theme. Foremost in importance he wanted people to take notice of his family relationship with his great-grandfather, Augustus, founder of the Roman Empire. The portrait of Divus Augustus was so well known among the Roman people that it was needless to name him on the reverse of this coin. His divinity is emphasized by the stars and the radiate crown. cngcoins.com
Augustus. 27 BC-AD 14. AV Quinarius (3.93 g, 6h). Spanish mint - Tarraco. Struck circa 18-17/6 BC. AVG-VST across field, bare head right / Victory, draped, standing right on globe, holding aquila in raised left hand and branch downwards in right. RIC I 121; BMCRE 424 = BMCRR Rome 4379; BN -.
The gold quinarius (half aureus) was first struck by Caesar in 45 BC for his Spanish triumph. It was reintroduced by Augustus and like its equivalent in silver was coined only intermittently and in limited quantities.
JUDAEA, Herodians. Caesaraea Panias. Herod IV Philip, with Tiberius. 4 BCE-34 CE. Æ 18mm (3.48 g). Dated RY 37 (33/34 CE). Bare head of Tiberius right; branch before / Tetrastyle temple. RPC I 4952; Hendin 538.
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. 35/4 BC. AR Denarius (3.71 g, 9h). Spanish or northern Italian or mint traveling with Octavian in Illyricum. Bare head left / IMP above, CAE SAR at sides, DIVI F below, round shield (or phiale?) with three concentric rows of studs and central boss. RIC I 543b; CRI 393; RSC 127; BMCRE 313 = BMCRR Gaul 123; BN 1021-2.
Nero, with Agrippina Junior. AD 54-68. AR Denarius (3.22 g, 8h). Rome mint. Struck AD 54. Nero and Agrippina vis-à-vis: bare head of Nero right; Draped bust of Agrippina left / EX S C within oak wreath. RIC I 2 (Rome mint); WCN 36; RSC 7.
Julius Caesar. January-February 44 BC. AR Denarius (19mm, 4.08 g, 8h). Rome mint; L. Aemilius Buca, moneyer. Laureate head right; crescent in left field / Venus Genetrix standing left, holding Victory and scepter. Crawford 480/4; Alföldi Type IV, 128 (A33/R26); CRI 102; Sydenham 1060; RSC 22.
Livia
This portrait of Livia, wife of Augustus, belongs to the tradition of Roman Republican portraiture and illustrates the classicizing style that triumphed during the reign of Augustus. This official portrait served the propaganda of the essentially monarchist regime installed during the late first century BC under cover of a restoration of the Republic (59-27 BC). Judging by the material - basanite - it dates from Octavian's victory over Mark Anthony and Cleopatra at Actium in 31 BC.
Description
The wife of Augustus
This basanite head is a portrait of Livia (born circa 57 BC, died in AD 29), comparable to her effigies on coins and hardstone cameos (such as the one in The Hague). Livia, a member of the Roman nobility, played a major role in the foundation of the Julio-Claudian dynasty. Her children from a first marriage to a member of the Claudian family were adopted by Octavian Augustus, whom she married in 38 BC before he became emperor.
Reference to Republican portraiture
This work is a fine example of the propaganda of the new regime, which claimed to be a mere restoration of the Republic rather than a monarchy. In reality, almost all power (political, military, and religious) was now in the hands of one man: Augustus. Livia's hairstyle is one that was highly fashionable from the mid-first century BC: a roll of hair ("nodus," in Latin) over her forehead, with a little bun at the nape of the neck and a short central braid (hidden by a veil in this portrait). The austere features link this face to traditional Republican portraiture, which served to vaunt the merits of the ruling class. The work also illustrates the classicizing style that triumphed during the reign of Augustus (27 BC-AD 14): official portraits were idealized in reference to fifth-century BC Athenian classicism, thereby expressing Augustus' desire to affirm the restoration of a "golden age."
Egyptian inspiration
Basanite is an extremely hard material that gives an almost metallic sheen to this head, so that it resembles bronze portraits from the same period. However, the hieratic quality, the strictly frontal presentation, and the refinement of the material also recall the royal art of Hellenistic Egypt. This has been interpreted as a deliberate reference to Octavian's seizure of the kingdom of Cleopatra VII after his victory over Mark Anthony and the Egyptian fleet at the Battle of Actium. This portrait probably dates to the period just after that battle, circa 30 BC, when Livia was 27 years old.
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
English: Julian prince. Coarse-grained marble, first Julio-Claudian era; the nose, upper lip, ears and neck are modern restorations.
Français : Prince de la dynastie julienne. Marbre à gros grains, première période julio-claudienne ; le nez, la lèvre supérieure, les oreilles e le cou sont des restaurations modernes.
Italiano: Principe della famiglia Giulia. Marmo a grandi cristalli, età augustaea; il naso, il labbro superiore, le orecchie e il collo sono restaurati.
Credit line Cesi Collection (?); Ludovisi Collection
Accession number Inv. 8636
Location Ground floor
Source/Photographer Marie-Lan Nguyen (Jastrow), 2009
Friedrich von Keller '1000 Ton Press', 1939, 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