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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.
Octavian. 30-29 BC. AR Denarius (3.75 g, 10h). Italian (Rome?) mint. Bare head right / IMP CAESAR on the architrave of the Roman Senate House (Curia Julia), showing central door with three windows above, porch supported by four short columns along front, statue of Victory on globe surmounting apex of roof, statues of standing figures, each holding spear and parazonium; at the extremities of the architrave, bas-reliefs of seated figure between animals or birds in pediment. RIC I 266; CRI 421; RSC 122; BMCRE 631 = BMCRR Rome 4358; BN 52-5.
Julia Augusta (Livia). Augusta, AD 14-29. Æ Dupondius (27mm, 10.91 g, 6h). Rome mint. Restitution issue under Titus, AD 80-81. Diademed, veiled and draped bust of Julia Augusta(?), as Pietas, right / Legend around large S C. RIC II 426; Komnick 17.0.
Jean Carolus 'A Busy Wheelwright Forge', The Grohmann Museum, 'Man at Work' collection, Milwaukee, Wisconsin
A ROMAN MARBLE ALTAR FOR HERCULES
CIRCA 1ST CENTURY A.D.
Sculpted in relief, the front with the Erymanthian boar standing on a groundline in left profile, the corners fluted, the right side with a phiale and trefoil footed ewer, the back with the Nemean lion skin splayed, the left with the hero's knobbed club; the top bordered with volutes formed of bundled petals with rosettes at each facing end, the central plinth roughly finished and blackened from burnt offerings
34¼ in. (87 cm.) high
Notes
The imagery depicted on this altar refers to two of the Twelve Labors of Hercules: the slaying of the Nemean lion; and the capture of the Erymanthian boar. In the first labor, Hercules was ordered to kill the lion, which haunted the area around Nemea. Its hide was so thick that it was impenetrable to weapons. The capture of the boar was the fourth labor. It was a giant and dangerous creature that lived on Mount Erymanthos, which Hercules successfully captured by driving it into the snow.
educational use only
Johann Friedrich Reusch 'Iron Ore Miner from the Siegerlan, Germany', the Grohmann Museum roof top sculptures, 'Man at Work' collection, Milwaukee, Wisconsin
Claudius. AD 41-54. Æ As (30mm, 8.71 g). Rome mint. Struck AD 50-54. Bare head left / Minerva standing right, holding shield and brandishing javelin. RIC I 116; BMCRE 206; Cohen 84.
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 (7.77 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.
Julius Caesar. 46-45 BC. AR Denarius (19mm, 3.84 g, 5h). Military mint travelling with Caesar in Spain. Diademed head of Venus right; Cupid behind shoulder / Trophy with oval shield and carnyx (Gallic arms) in each hand between female and male seated captives; CAESAR in exergue. Crawford 468/1; CRI 58; Sydenham 1014; RSC 13.
Julius Caesar. 46 BC. AR Denarius (20mm, 3.83 g, 12h). Utica(?) mint. COS•TERT DICT•ITER, head of Ceres right, wearing wreath of grain / AVGVR above, PONT•MAX below, emblems of the augurate and pontificate--simpulum, aspergillum, jug, and lituus; D on right. Crawford 467/1a; CRI 57; Sydenham 1023; RSC 4a.
Nero. AD 54-68. Æ As (30mm, 12.00 g, 6h). Rome mint. Struck circa AD 65. Laureate head left / Victory advancing left, holding shield inscribed S P Q R. RIC I 313; WCN 287.
Unknown
Description Deutsch: So genannte »Augustus Bevilacqua«. Büste des Kaisers mit Bürgerkrone, Augusteisch.
English: So called “Augustus Bevilacqua”. Bust of the emperor with the Civic Crown, period of his reign.
Français : « Auguste Bevilacqua ». Buste de l'empereur portant la couronne civique, époque de son règne.
Dimensions H. 50.5 cm
Credit line Kept since 1589 in Palace Bevilacqua, Verona
Accession number Inv. 317
Location Room 11 (Saal der römischen Bildnisse)
Source/Photographer User:Bibi Saint-Pol, own work, 2007-02-08
English: Portrait of M. Vipsanius Agrippa of the Gabii type. Parian marble, ca. 45–50 AD. From ancient Rusicada, now Philippeville in Algeria.
Français : Portrait de M. Vipsanius Agrippa du type de Gabies. Marbre de Paros, vers 45-50 ao. J.-C. Provebance : Rusicada, aujourd'hui Philippeville en Algérie.
Dimensions H. 21 cm (8 ¼ in.)
Credit line Expedition of Capitaine Delamarre, 1848
Accession number Ma 3554 (LP 3029)
Location Department of Greek, Etruscan and Roman antiquities, Denon, ground floor, room 23
Source/Photographer Marie-Lan Nguyen (User:Jastrow), 2009
Augustus. 27 BC-AD 14. AR Denarius (18mm, 3.62 g, 6h). Spanish mint (Colonia Caesaraugusta?). Struck circa 19-18 BC. Head right, wearing oak wreath / S P Q R above and below shield inscribed CL•V; laurel branches flanking. RIC I 36a; ACIP 4037; RSC 51.
Ex Triton XII (6 January 2009), lot 535; William C. Boyd Collection (Baldwin's 42, 26 September 2005), lot 188, with his original ticket (numbered 11); purchased from Seltman, 1898.
In the Res Gestae, Augustus records that the Senate, in giving him the title Augustus, also decreed that the doorposts of his house be officially decorated with laurel, that the corona civica be placed over the door, and that a shield be displayed in the Curia Iulia. This shield, or clipeus, had been dedicated to him by the Senate and the Roman People on account of his virtues of bravery, clemency, justice, and pietas, virtues which were inscribed on the shield itself. Copies of it were then set up all over the Roman world. The return in 19 BC of the Roman standards captured by the Parthians at the Battle of Carrhae offered an excellent opportunity to once again recall Augustus' pietas, one of the virtues recorded on the clipeus. cngcoins.com
Drinking cup (kylix) depicting Herakles rescuing Deianera from Nessos
Greek, Classical Period, about 420–410 B.C.
Painter: Aristophanes
Potter: Erginos
Place of Manufacture: Athens, Attica, Greece
Ceramic, Red Figure
Veiled portrait head carved for insertion of Vipsania Agrippina (ex-wife of Tiberius and mother of Drusus minor) found in Rusellae (Roselle, Italy) and currently in the Museo Nazionale Archeologico delle Marche of Grosseto (Roman, Early Imperial, first century CE; no inventory number known). It is 22 cm (8.6614 in.) high. Recently published in D. Boschung, Gens Augusta. Untersuchungen zu Aufstellung, Wirkung und Bedeutung der Statuengruppen des julisch-claudischen Kaiserhauses, Mainz, 2002, p. 71, nr. 20.31, taf. 61,1.
Date August 09, 2008 at 17:54
Source Vipsania Agrippina Grosseto
Author Evil berry
Títulus sepulcralis de una cupa structilis. De la cupa se 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...
NERO, 54-69. Sestertius, about 64. AE 26.43 g. NERO CLAVDIVS CAESAR AVG GER P M TR P IMP PP Laureate head r., aegis on l. shoulder. Rv. ANNONA AVGVSTI CERES / SC Ceres, veiled and draped, seated l., hodling corn-ears in her r. hand and torch in her l. hand, feet resting on stool, facing Annona draped, standing r., holding cornucopiae in her l. hand; between them, modius on garlanded altar, ship's stern behind. RIC 161, 139. C. 17. BN II, 149, 278.
Augustus. 27 BC-AD 14. AV Aureus (7.88 g, 6h). Spanish mint - Emerita. Struck 19-18 BC. AVGVSTVS, bare head left / OB/CIVIS/SERVATOS in three lines within oak wreath. RIC I 29b; Calicó 250; BMCRE 314 var. = BMCRR Gaul 148 var. (head right); BN 1279.
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.
Museum of Fine Arts, Boston
Title: Bust of a Julio-Claudian woman
Subject The features have been proposed by Poulsen to be those of Octavia Major, the half-sister of the emperor Augustus, on the basis of their similarity to the features of Octavia Minor, his full sister (Fulvia, the wife of Mark Anthony, has also been proposed)
Category: Separated fragments
Material: Marble
Date ca. 0 AD
Style: Julio-Claudian
Context: Campania
Findspot: Capua
Condition: Complete
Dimensions: H. 0.345 m; L. (face) 0.162 m
Period: Julio-Claudian
Region: Campania
Scale: Under life-size
--------------------------------------------------------------------------------
Form & Style: The bust is in the form popular in the Julio-Claudian period, whereby the upper parts of the shoulders and breast are shown.
Condition: The surface is well preserved, with a chipped nose restored in plaster.
Sources Used: Comstock & Vermeule 1976, 211, no. 333 (ill., with previous bibliography)
educational use only
Mosaic Glass bowl
Roman, Roman, 1st century B.C. to A.D.
Legacy dimension: 0.038 H. 0.095 D.
Glass
Classification: Vessels
Object is currently not on view
Principal colors purple and green. Iridescent on interior.
Museum of Fine Arts, Boston
M. Elizabeth Carter Collection, 1918
Accession number: 18.253
educational guidelines only
Agrippina the Elder. Detail.
Marble. 10—20 A.D.
Height 59 cm.
Inv. MC421.
Rome, Capitoline Museums, Palazzo Nuovo, Hall of the Emperors.
educational use only
English: Three Ancient Roman amphoras at the National Museum of Roman Art in Mérida (Badajoz, Extremadura, Spain).
Español: Tres ánforas romanas en el Museo Nacional de Arte Romano de Mérida (Badajoz, Extremadura, España).
Date 07–August–2007
Source originally posted to Flickr as 3 Roman Urns
Author Pikaluk from U.K.
Drusus. Caesar, AD 19-23. Æ Sestertius (35mm, 23.96 g, 11h). Rome mint. Struck 22-23 AD. Confronted heads of Drusus’ children on crossed cornucopias; caduceus between / Legend around large S • C. RIC I 42 (Tiberius). cngcoins.com
Mark Antony. 39 BC. AR Quinarius (14mm, 1.80 g, 12h). Military mint travelling with Octavian in Gaul. Diademed and veiled head of Concordia right / Clasped hands holding caduceus. Crawford 529/4b; CRI 304; Sydenham 1195; RSC 67. cngcoins.com
Unknown
Gallo-Roman, A.D. 60 - 70
Bronze
89.AB.67
Who do these two bronze portrait busts represent? They are very similar in appearance, although one appears slightly older than the other. Both boys have a hairstyle with a distinctive wave across the forehead, which was popular during the reign of the Roman emperor Nero. The busts originally had long, separately made locks of hair, which were attached to the back of the heads. Their long locks may indicate that they represent a pair of attendants in a youth organization called the Iuventus, which held special favor under Nero. If so, these busts are the only known portraits of such attendants in the Iuventus and were probably created to be displayed in one of the organization's shrines.
One bust has an acanthus band at the bottom; while this feature is missing on the other bust, traces of solder may indicate its original presence. Also missing from both heads are the original inlaid eyes made of colored stone or glass paste. The emphasis on the front view, the simplistic treatment of the back of the head, and the overall style indicate that this pair of busts was made in the Roman province of Gaul.
These busts are said to have been found in France along with the Offering Box and the Statuette of Mars/Cobannus. The pieces were probably all displayed together in a local shrine of the Iuventus.
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.
Max Gaisser 'The Money Changer', The Grohmann Museum, 'Man at Work' collection, Milwaukee, Wisconsin
Octavian. 31-30 BC. AR Denarius (3.75 g, 3h). Italian (Rome?) mint. Winged bust of Victory right, wearing hair rolled from brow to back of head and knotted there and fastened with a jeweled ornament / CAESAR DIVI F across field, Octavian, as Neptune, standing left, naked but for cloak hanging from shoulders behind, his right foot set on globe, holding apluster in right hand and resting on scepter held in left. RIC I 256; CRI 409; RSC 60; BMCRE 615 = BMCRR Rome 4341; BN 12-7.
Octavian and Divus Julius Caesar. 38 BC. Æ Sestertius (or Dupondius?) (18.61 g, 4h). Southern Italian(?) mint. CAESAR DIVI • F, bare head of Octavian right, wearing slight beard / DIVOS IVLIVS, head of Divus Julius right, wearing wreath. Crawford 535/1; Alföldi & Giard 4 (D2/R- [unlisted rev. die]); CRI 308; Sydenham 1335; RPC I 620; Kestner 3826-8; BMCRR Gaul 105-7.
AUGUSTUS, with DIVUS JULIUS CAESAR. 27 BC-14 AD. AR Denarius (19mm, 4.03 g, 10h). Rome mint. Struck 17 BC. M. Sanquinius, moneyer. AVGVSTVS DIVI. F, bare head of Augustus right / M SANQVI-NIVS III VIR, laureate head of Divus Julius Caesar right; comet above. RIC I 338; BMCRE 71; RSC 1 (Julius Caesar and Augustus).
Julius Caesar was killed by Brutus, Cassius, and other conspirators on the Ides (15) of March 44 BC. When a comet was observed in the night sky shortly following his assassination, it was widely believed that it represented the Divine Julius Caesar, as a god. This particular denarius celebrates Julius Caesar's diefied status, as evidenced by the appearance of the comet.
Head of a woman
ca. 14 - 37 A.D.
Roman
Tiberian
14 -37 A.D.
Fine-grained white marble
h. 29.5 cm., w. 17.5 cm., d. 17.8 cm. (11 5/8 x 6 7/8 x 7 in.)
Museum purchase, gift of John B. Elliott, Class of 1951
Object Number: y1989-55
EDUCATIONAL ONLY GUIDELINES
Here again a detail from one of the reliefs of the temple Sebasteion of Aphrodisias.
The figure shown here is the roman emperor Claudius.
His hat, hair style and face is quite similar to those people living in Asia Minor today.
educational use only
Death type mask on the left
From Rome, Italy
About 60-40 BC
Reminiscent of a death mask
The bust shows an old man, clean-shaven and with closely-cropped hair, indicated with rows of simple shallow gouges on the head. The details of his face are closely observed, especially his rather small eyes and the jowls and cheeks, which are quite heavy and sagging. This has suggested to some that the portrait may have been taken from a death mask. This realistic 'warts and all' type of portrait, which sometimes looks startlingly unflattering, was extremely popular during the late Republic and early empire (first century BC to early first century AD) and was initially the preserve of the upper echelons of society such as senators, generals and other high-ranking officials.
Portraiture of this type served two main functions depending on whether the image was of a living or dead person.
Images of the deceased were used primarily in a private or family context as part of the important ritual ancestor worship. Ancestral busts were kept in the home, where they served as a reminder of the person's good name and deeds and also as a legitimization of the family line. Masks of prominent ancestors were sometimes worn at funeral processions. Images of the living, set up in public to commemorate military victory or public benefaction, were essentially an advertisement of present greatness. For Augustus and successive emperors, the image was of paramount importance as an extension and affirmation of power .
Height: 45.75 cm
courtesy David Emery
Excavation
Parts of the site were briefly excavated in 1904-5 by a French team, and in 1937 by an Italian team. Sustained work at the site was begun in 1961 by New York University under the direction of Kenan Erim, who worked at the site till his death in 1990. In this period were excavated most of the major public monuments of the city centre: the Temple of Aphrodite, the Council House, the Theatre and Theatre Baths, the South Agora, and the Sebasteion, a temple complex dedicated to the combined worship of Aphrodite and the Julio-Claudian emperors.
The extraordinary preservation of the site and its marble culture makes Aphrodisias an important laboratory for the study of many aspects of Greek city life under the Roman Empire. The site is especially important for its rich remains of the Julio-Claudian period, for its well preserved ‘classical’ late antique cityscape, and for its honorific statuary both of the early empire and in late antiquity that survives with detailed contexts and associated epigraphy.
From New Wire.
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.
Head of emperor Claudius.
Bronze. 1st century.
Height: 30 cm.
P&EE 1965 12—1 1.
Room 49, Roman Britain, case 14.
London, The British Museum.
educational use only
Victory monument found at Nijmegen: victorious Roman sacrificing to Tiberius Caesar (Valkhof, Nijmegen)
During the next three years, Tiberius was active on the east bank of the Rhine (he had only just suppressed the Pannonian revolt). Until then, about six legions had guarded the frontier; from now on, there were eight. The army of Germania Superior consisted of II Augusta, XIII Gemina, XIV Gemina, and XVI Gallica; I Germanica, V Alaudae, XX Valeria Victrix, and XXI Rapax were stationed in Germania Inferior. Diplomacy secured the alliance between the Romans and the Frisians and Chauci, but Arminius was able to create a federation of tribes. In 9, 10, and 11, Tiberius invaded Arminius' territory, but he did not want to reconquer the country between Rhine and Elbe: the Romans merely wanted to avenge themselves. It is likely that the construction of the Roman fort at Vechten (ancient Fectio) is connected to this offensive.
In 12, Tiberius decided that it was enough, and accepted that the Rhine was the border of the Roman empire. He understood the Germans: left to their own, the federation of Arminius would soon disintegrate.
The area of London where UK film premieres take place. With loads of cinemas.
This is bust of Reynolds, near the Empire Leicester Square cinema.
It is a bust of Sir Joshua Reynolds, a portrait painter, by Henry Weeks (1874). Reynolds lived from 1723 to 1792.
He was a student of Italian art, and his work became classical. He first became President of the Royal Society of Arts in 1768.
He lived and painted in Leicester Square from 1760 until his death in his studio on the west side of Leicester Square where Fanum House now stands.
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