retrieval photos on Flickr

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NO RELEASE • NO flickr API • No part of this photostream, none of my work may be copied, reproduced, whole or part, stored in retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior express permission of Bernhard Egger.

If you have do, it will be considered a serious violation of my privacy and copyrights and will be subject to legal ramifications!

Note - you do not have my permission to use any of my profile or pictures in any form or forum both current and future, but some of my works & images can be ► purchased here (en) | (de)

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►my profile.. |►collections.. |►my sets.. |► buy it for you..

:: ru-moto is admin of 77 groups • 67 MILLION VIEWS (11/'18)

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★ classic sports cars ★ motorcycles events ★ Mille Miglia | Ennstal-Classic ★ motor sports ★ Oldtimer GP TT ★ fine art

:: Tags: Берни Эггерян, Бернхард Эггер, фото, ru-moto, images, фотограф, photographer, 写真家, Nikon FX, full frame, fine art, photography, Fotografie, Fotográfico, Fotografo, supershot, passion, Passione, Leidenschaft, emotion, Emozioni, satisfaction, Faszination, enthusiast, classiche, classica, classic, classical, vintage, storiche, historic, historisch, historique, retro, Rétromobile, Oldtimer, Oldtimersport, Heritage, Motorsport, motoring, competizione, motorracing, Rennsport, corse, Ecurie, veloce, speed, race, racing, race trake, circuit, Rennstrecke, Jaguar SS 100, 1937, Ennstal-Classic, Gröbming, Styria, Austria, Австрия, Racecar-Trophy, Sberbank, Сбербанк, Россия, ZENITH, Mille Miglia, Targa Florio, Rally, Rallye, Automobilsport, Techno Classica, Moto d'Epoca, Goodwood, FOS, FIA Founding Members Heritage Cup, Passione senza Tempo, Automobile, машина, Autos, car, sportscars, Sportwagen, Rennwagen, Sportfoto, fine art, poster, digital, collection, Canvas Prints, posters, Kunstdruck, print, prints, quality, authentic, exclusive, original, calendar, Kalender, gallery, old stile, Event, events, postcard, greeting card, beauty, beautiful, gorgeous, canvas, best, art, 摩托, 車, バイク, камера, color, british,

:: ru-moto - images of 100 car brands:

Abarth, Abarth-Fiat, AC, Alfa Romeo, Allard, Antas, Alpine, Alvis, Aston Martin, Audi, Austin, Austro V, Auto Union, AWE, Bentley, Bizzarrini, BMW, Borgward, Bristol, Bugatti, Byers, Chevrolet, Chrysler, Cisitalia, Citroen, Colani, Cooper, CR Salmson, Dacia, Datsun, Denzel, De Tomaso, DKW, Devin, Ermini, Ferrari, Fiat, Ford, Filandi, Faralli Mazzanti, FMR, GAZ, ГАЗ, Giannini, Gilco, Ginetta, Gordini, Healey, Horch, HRG, IMP, Intermeccanica, Iso, Italia, Jaguar, HWM Jaguar, Lagonda, Lamborghini, Lada, Lancia, Lea Francis, Lotus, March, Marcos, Maserati, Mazda, Mazzanti, McLaren, Mercedes-Benz, Messerschmitt, MG, Mini, Mitsubishi, Morgan, Morris, Maybach, Nissan, NSU, OM, Opel, Osca, Peugeot, Plymouth, Porsche, Puch, Railton, Reliant, Renault, Riley, Rolls-Royce, Saab, Salmson, Siata, Skoda, Squire, Stanguellini, Steyr, Steyr-Puch, Talbot, Tatra, Triumph, Uragano, Veritas, Volkswagen, Volvo, Wanderer,

Design - coachbuilders:

Carrozzeria Allemano, Autodromo, Balbo, Bertone, BAT, Berlinetta Aerodinamica Tecnica, Bizzarrini Giotto, Bizzarrini, Felice Mario Boana, Boneschi, Carrozzeria Castagna, Carrozzeria Colli, Carrozzeria Fissore, Frua, Fuhrmann, Gamine, Giugiaro Giorgio, Carrozzeria Ghia, Italdesign Giugiaro, Callum Ian, Dallara Gianpaolo, Miura, De Tomaso Pantera, De Tomaso Alejandro, Gandini Marcello, Lamborghini Miura, Countach, De Simon, Diablo, Lancia Stratos, Carrozzeria Francis Lombardi, Maggiora, Carrozzeria Marazzi, Paolo Martin, Modena, Maserati Khamsin, Friedrich Indra, Maserati Bora, Giovanni Michelotti, Christian Nell, OSI, Pedrazza, Pininfarina, Rocco Motto, Stanzani Paolo, Bugatti EB110, Campogalliano, Carrozzeria Scaglietti, Supperleggera, Carrozzeria Touring Superleggera, Touring Milano, Carrozzeria Varesina, Vignale, Carrozzeria Alfredo Vignale, Carrozzeria Viotto, Zagato, Werner Zinke,

motorsport photographer legends:

Neill Bruce, Colin McMaster, Andrew Morland, Ian Dawson, Geoffrey Goddard, Christian Gonzenbach, Christian Hatton, Louis Klemantaski, Stefan Lüscher, Richard Meinert, F. Naef, Peter Roberts, Alois Rottensteiner, Rainer Schlegelmilch,

driver legends, Champions, Fahrer, Legenden,

Rauno Aaltonen, Carlo Abarth, Markku Alén, Michele Alboreto, Chris Amon, Mario Andretti, Richard Attwood, Derek Bell, Gerhard Berger, Jo Bonnier, Jack Brabham, Tony Brooks, Eric Carlson, Francois Cevert, Chapman, David Coulthard, Patrick Dempsey, Mark Donohue, Vic Elford, Michael McDowel, Bruce McLaren, De Filippis, Maria Teresa de Filippis, Emerson Fittipaldi, Nanni Galli, Peter Gethin, Jim Hall, Mike Hawthorn, Brian Henton, Hans Hermann, Phil Hill, Günther Huber, Denis Hulme, Gerad Larrousse, Niki Lauda, Umberto Maglioli, Nigel Mansell, Helmut Marko, Jochen Mass, Jo Siffert, Stirling Moss, Gino Munaron, Alfred Neubauer, Jackie Oliver, Johannes Ortner, Henry Pescarolo, Gunther Phillip, Teddy Pilette, David Piper, Dieter Quester, Joaquin Jo Ramirez, Jochen Rindt, Walter Röhrl, Pedro Rodríguez, Jean Sage, Jody Scheckter, Peter Schetty, Stuck, Marc Surer, John Surtees, Jackie Stewart, Jarno Trulli, Nino Vaccarella, Sebastian Vettel, Luciano Viaro, Jo Vonlanthen, Peter Westbury, Björn Waldegard, Mark Webber, Franz Wittmann, Alexander Wurz, Franz Wurz, Rudi Stohl, Ecurie Vienne, Walter Wolf, Helmut Zwickl,

ФК Дніпро Днепропетровск ► All kinds of commercial usage incl. hyperlinks are illegal! ► © Copyright by :: eu-moto images ◄ B. Egger - IFCS Int. Footballcamp Styria Irdning Austria - Dnjepropetrowsk 0517 by © Bernard Egger 📷

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This work is protected under copyright laws and agreements.

NO RELEASE • NO flickr API • No part of this photostream may be reproduced, stored in retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without my prior permission!

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►my profile... |►collections.. |►sets.. |►facebook |►FC DNIPRO

:: ru-moto is admin of 76 & member of 586 flickr groups (3/2017)

☆ A big thankyou for an incredible 51 MILLION VIEWS on flickr!

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★ classic sports cars ★ motorcycles sports events ★ Mille Miglia | Ennstal-Classic ★ motor sports ★ Oldtimer GP | TT IOM ★ Fine Art

FC DNIPRO DNIPROPETROVSK www.fcdnipro.ua - IFCS International football camps Styria.

goal:

27 Lastuvka Jan (CZ) - 32 Kaniboloskiy Anton - 89 Schelichows Denys

defender:

2 Inkoom Samule (Ghana) - 3 Lobzhandize Ucha (Georgia) - 5 Mandzyuk Vitaliy - 14 Cheberyachko Yevgen - 16 Rusol Andriy - 17 Strinic Ivan (HRO) - 19 Denisov Vitaliy (Usbekistan) - 24 Paschajew Pavlo

midfield:

4 Krachenko Serhiy - 8 Guiliano (BRA) - 10 Konoplyanka Yevgen - 18 Ferreyra Osmar (ARG) - 25 Holek Mario (CZ) - 29 Rotan Ruslan - 30 Shakhov Yevgen - 36 Babenko Ruslan - 88 Lyopa Dmytro

forward strikers:

9 Gomenyuk Volodymyr - 22 Gladkyy Oleksandr - 77 Bokhashvili Yevgen - 99 Matheus (BRA).

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FC DNIPRO DNIPROPETROVSK Дніпропетровськ Днепропетровск Dnjepropetrowsk

International Football Training Camp Irdning Styria, Austria EU

Der 1911 gegründete Fußballverein FC Dnipro Dnipropetrovsk spielt national in der höchsten Spielklasse und mehrmals auch im UEFA-Cup. Er war in der Zeit der Zugehörigkeit zur Sowjetunion 1983 und 1988 zweimal Sowjetischer Fußballmeister. Der FK ist im 2008 eröffneten Multifunktionalen Dniprostadion beheimatet.

Dnipropetrovsk steht als Austragungsort für drei Vorrundenspiele der Fußball-Europameisterschaft 2012 zur Wahl. 1983, 1984, 2003 und 2010 wurde ein Spieler von Dnipro Dnipropetrovsk Ukrainischer Fußballer des Jahres.

Tags: IFCS, "International football camp Styria", Styria, football, Austria, training, "ATV Irdning", Irdning, Steiermark, ФК Дніпро Днепропетровск, Дніпропетровськ, Днепропетровск, Dnjepropetrowsk, FC Dnipropetrovsk, Team, Mannschaft, Trainer, Tor, Goal, Tormann, Fußball, Fussball, soccer, match, Spiel, Partie, photo Foto, Fotos, Bild Bilder, ru-moto, pictures, Passion, Leidenschaft, Sport, Wettkampf, Nikon, FX, full-frame, Nikkor, Sportfoto,

- - ► top ATV pictures: www.flickriver.com/groups/atv/pool/interesting ◄ - -

Porsche 356 Speedster MM Copyright by B. Egger :: eu-moto images - internet piracy by Yuriy Shevchuk Prague - INITIATIVE FOR THE LOW ON INTELLECTUAL PROPERTY by © Bernard Egger 📷

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This work is protected under copyright laws and agreements.

NO RELEASE • None of my works, no part of this photostream may be published, copied, reproduced, stored in retrieval system, or transmitted, in any form or by any means, without the prior express permission of Bernhard Egger. If you have do, it will be considered a serious violation of my copyrights and will be subject to legal ramifications! • NO flickr API •

Note - you don't have my express permission for use but some of my works & images can be ► purchased here (en) | (de)

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internet piracy - "MAN PINKELT UNS FOTOGRAFEN INS GESICHT! ► more: fb/media/set/

Eine Gesellschaft, die so mit Fotografen umgeht, ist nichts wert!

► more: radio/bayern2/sendungen...

INITIATIVE FOR THE LOW ON INTELLECTUAL PROPERTY

Mister YURIY SHEVCHUK / Shevchukart, Prague ! PRStolen

You don't have my express permission in any form !!!
You are a painter and you know what it mean - you have stolen intentionally! It's considered a serious violation of my copyrights and will be subject to legal ramifications!

None of my works, no part of this photostream may be published, copied, reproduced, stored in retrieval system, transmitted, or used in any form or by any means, whithout my prior express permission.

But you have done and it will be a subject to legal ramifications!

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INTERNET PIRATERIE - COPYRIGHT

Die Mausklick Generation hat sich daran gewöhnt, im Internet ein Gratisuniversum vorzufinden. Als Fotografen und Urheber unserer Fotos in Flickr sind wir digitalen Übergriffen hilflos ausgeliefert. Auferlegte Nutzungseinschränkungen und Copyrighthinweise werden, selbst nach den von uns dafür entsprechend ausgewählten Account-Einstellungen, von den Anwendern ignoriert.

Anwender von Flickr-API in Websites Dritter und Internet-Piraten sind längst nicht mehr bereit, geistiges Eigentum und das Eigentum unserer Fotos zu respektieren. Nicht Flickr ist Eigentümer der Fotos in Flickr, sondern die Fotografen als Flickr Benutzer. API-Anwender kümmern sich so gut wie gar nicht um Lizenzen. Alle Bilder erscheinen, in den uns unbekannten Websites der unzähligen API-Anwender. Aus diesem Grund habe ich mich zur Erstellung des obigen "Bildes" entschlossen.

Was ist Urheberrechtschutz in Flick überhaupt noch wert, wenn man jeden Inhalt irgendwie auch gratis mit Diebstahl erhält, wenn man nur die Moralschranken möglichst tief gelegt oder völlig abgelegt hat?

Meine Erfahrung und Antwort als Fotograf / Administrator: Nichts!

Der Piraterie und dem Diebstahl geistigen Eigentums stehen Tür und Tor offen. Die zur Entfernung/Verbergung unserer Bilder vorgesehenen Flickr-Account-Einstellungen wirken in der Praxis gar nicht.

Unsere geschützten Lichtbildwerke erscheinen entgegen dem Urheberrechtschutzgesetzt ungehindert in Websites Dritter oder werden von malenden Künstlern zuhause in der warmen Stube bequem 1:1 kopiert.

Tags: ru-moto, copyright, prodected, Urheberrecht, license, Lizenz, Freigabe, Kunst, Gesetz, Recht, law, stolen, Yuriy Shevchuk, Prag, Prague, Ukraine, Maler, Diebstahl, Interpol, Europol, Geistiges Eigentum, imagekind, gallery, Galerie, Künstler, Fotografen, Bilderdieb, internet, piracy, Я фотограф, Nikon photographs, Nikon photographers, 写真家, фотограф, photographer, фото, ru-moto, fine art, photography, Fotografie, Fotográfico, Fotografo, Nikon, artprint, photograph,

This work is protected under copyright laws and agreements.

NO RELEASE • NO flickr API • No part of this photostream may be reproduced, stored in retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without my prior permission!

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►my profile... |►collections.. |►sets.. |►facebook |►get a print

:: ru-moto is admin of 77 groups • member of 610 groups (3/18)

☆ A big thankyou for incredible 60 MILLION VIEWS on flickr !

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★ classic sports cars ★ motorcycles sports events ★ Mille Miglia | Ennstal-Classic ★ motor sports ★ Oldtimer GP | TT IOM ★ fine art

Maserati 250F/V12 1957 - M.T. de Filippis at Ennstal-Classic 2010

Maria Teresa de Filippis (born 11 November 1926 in Naples, Italy / † 9.1.2016 Scanzorosciate) was the first of five female Formula One racing drivers in the sport's history. She participated in five World Championship Grands Prix, debuting on 18 May 1958. She scored no championship points. She also participated in several non-Championship Formula One races. The four other women who attempted to start in Formula One were Lella Lombardi, Divina Galica, Desiré Wilson and Giovanna Amati.

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Maria Teresa de Filippis (* 11. November 1926 in Neapel / † 9.1.2016) war eine ehemalige italienische Automobilrennfahrerin.

Sie war die erste Frau, die bei einem Formel-1-Weltmeisterschaftslauf startete, und zwar beim GP von Belgien 1958 auf Maserati. Sie beendete das Rennen als Zehnte. Zuvor hatte sie bereits, ebenfalls auf Maserati, Sportwagenrennen bestritten und erfolglos versucht, sich für den GP von Monaco 1958 zu qualifizieren. Bei zwei weiteren Rennen im gleichen Jahr schied sie jeweils aus.

In der Formel-1-Saison 1959 trat sie zum Großen Preis von Monaco auf Porsche an, für den sie sich allerdings nicht qualifizieren konnte. Nach dem Unfalltod ihres guten Freundes Jean Behra auf der AVUS 1959 beendete sie ihre Karriere.

Die gebürtige Neapolitanerin fuhr 1948 ihr erstes Rennen und gewann auf einem Fiat Topolino auf Anhieb ihre Klasse. Bei ihren ersten Rennen traf sie noch mit dem wohl größten italienischen Rennfahrer aller Zeiten zusammen: mit Tazio Tuvolari.

Zwischen 1949 und 1953 holte sie sich viele Siege in einem Fiat-Giannini Sportwagen. 1954 wurde sie Zweite im Straßenrennen Giro die Sicilia. 1955 wurden ihr von Maserati ein Werkswagen zur Verfügung gestellt. Mit einem A6GCS 2000 belegte sie Rang neun in der Targa Florio und Rang drei in den 10 Stunden von Messina. 1956 sah man Maria Teresa wieder auf Maserati bei der Mille Miglia. Beim 1000 km Rennen von Monza schied sie in ihrer Klasse führend aus, bei den 1000 km von Buenos Aires lag sie auf Rang sieben im Gesamtklassement, als sie einen Unfall hatte.

1958 sorgte sie für eine Sensation. Ehrgeizig und furchtlos wie sie nun mal war, debütierte sie in der Formel 1 auf einem Maserati 250F. Immerhin ein Auto, mit dem Fangio im Jahr davor Weltmeister wurde. Im Grand Prix von Syrakus, auf einer besonders gefährlichen Straßenrennstrecke, wurde sie Fünfte, in Monaco hatte sie Motorschaden, im Grand Prix von Europa, in Spa-Francorchamps, wurde sie Zehnte, in Monza schied sie 12 Runden vor Schluss auf Rang fünf liegend aus.

1959 konnte sie sich in Monaco mit dem Spezial-Porsche von Jean Behra nicht qualifizieren. Im 10 Stunden Rennen von Messina wurde sie auf Maserati Dritte. Als Jean Behra am 1. August 1959 beim Sportwagenrennen auf der Avus tödlich verunglückte, beendete sie ihre Karriere. Die Frau, der von Fangio abwärts ein ganzes Grand Prix-Startfeld den Hof machte, heiratete den gebürtigen Wiener Theo Huschek, mit dem sie heute in Oberitalien lebt. Sie ist nicht nur Ehrenpräsidentin des Clubs der einstigen Grand Prix-Piloten, sondern zusammen mit Theo Herz und Seele dieser elitären Vereinigung, zu deren Gründungsmitgliedern der fünffache Weltmeister Juan Manuel Fangio gehörte.

de.wikipedia.org/wiki/Maria_Teresa_de_Filippis

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:: Tags: Бернхард Эггер, фото, ru-moto, images, фотограф, 写真家, Nikon, FX, full frame, Fotográfico, photographer, Fotografo, photography, Fotografie, passion, Passione, Leidenschaft, emotion, Emozioni, satisfaction, Faszination, enthusiast, classiche, classica, classic, classical, vintage, storiche, historic, historisch, historique, retro, Rétromobile, Oldtimer, Oldtimersport, Heritage, Motorsport, motoring, competizione, motorracing, Rennsport, corse, Ecurie, veloce, speed, race, racing, race trake, circuit, supershot, Австрия, Россия, Ennstal-Classic, Gröbming, Styria, Austria, Racecar-Trophy, Sberbank, Сбербанк, ZENITH, Mille Miglia, Targa Florio, Rally, Rallye, Automobilsport, Techno Classica, Moto d'Epoca, Goodwood, FOS, FIA Founding Members Heritage Cup, Passione senza Tempo, Automobile, машина, Autos, car, sportscars, Sportwagen, Rennwagen, Sportfoto, fine art, poster, digital, collection, Canvas Prints, posters, Kunstdruck, print, prints, quality, authentic, exclusive, original, calendar, Kalender, gallery, old stile, Event, events, postcard, greeting card, beauty, beautiful, gorgeous, canvas, best, art, 摩托, 車, バイク, камера,

:: ru-moto images of 100 CAR BRANDS:

Abarth, Abarth-Fiat, AC, Alfa Romeo, Allard, Antas, Alpine, Alvis, Aston Martin, Audi, Austin, Austro V, Auto Union, AWE, Bentley, Bizzarrini, BMW, Borgward, Bristol, Bugatti, Byers, Chevrolet, Chrysler, Cisitalia, Citroen, Colani, Cooper, CR Salmson, Dacia, Datsun, Denzel, De Tomaso, DKW, Devin, Ermini, Ferrari, Fiat, Ford, Filandi, Faralli Mazzanti, FMR, GAZ, ГАЗ, Giannini, Gilco, Ginetta, Gordini, Healey, Horch, HRG, IMP, Intermeccanica, Iso, Italia, Jaguar, HWM Jaguar, Lagonda, Lamborghini, Lada, Lancia, Lea Francis, Lotus, March, Marcos, Maserati, Mazda, Mazzanti, McLaren, Mercedes-Benz, Messerschmitt, MG, Mini, Morgan, Morris, Maybach, NSU, OM, Opel, Osca, Peugeot, Plymouth, Porsche, Puch, Railton, Reliant, Renault, Riley, Rolls-Royce, Saab, Salmson, Siata, Skoda, Squire, Stanguellini, Steyr, Steyr-Puch, Talbot, Tatra, Triumph, Uragano, Veritas, Volkswagen, Volvo, Wanderer,

Design, Bizzarrini, Bertone, BAT, Berlinetta Aerodinamica Tecnica, Bizzarrini Giotto, Felice Mario Boana, Carrozzeria Castagna, Carrozzeria, Carrozzeria Colli, Carrozzeria Fissore, Italdesign Giugiaro, Callum Ian, Dallara Gianpaolo, Miura, De Tomaso Pantera, De Tomaso Alejandro, Gandini Marcello, Lamborghini Miura, Countach, De Simon, Diablo, Lancia Stratos, Carrozzeria Francis Lombardi, Carrozzeria Marazzi, Carrozzeria Scaglietti, Carrozzeria Touring Superleggera, Carrozzeria Varesina, Maserati Khamsin, Friedrich Indra, Fuhrmann, Gamine, Giugiaro Giorgio, Carrozzeria Ghia, Maserati Bora, Pininfarina, Scaglietti, Modena, Christian Nell, Stanzani Paolo, Bugatti EB110, Campogalliano, Touring Milano, Vignale, Zagato, Pedrazza, Werner Zinke,

motorsport photographer legends, Neill Bruce, Colin McMaster, Andrew Morland, Ian Dawson, Geoffrey Goddard, Christian Gonzenbach, Christian Hatton, Louis Klemantaski, Stefan Lüscher, Richard Meinert, F. Naef, Peter Roberts, Alois Rottensteiner, Rainer Schlegelmilch,

driver legends, Champions, Fahrer, driver, Legenden, Rauno Aaltonen, Carlo Abarth, Markku Alén, Michele Alboreto, Chris Amon, Mario Andretti, Richard Attwood, Derek Bell, Gerhard Berger, Jo Bonnier, Jack Brabham, Tony Brooks, Eric Carlson, Francois Cevert, Chapman, David Coulthard, Patrick Dempsey, Mark Donohue, Vic Elford, Michael McDowel, Bruce McLaren, De Filippis, Maria Teresa de Filippis, Emerson Fittipaldi, Nanni Galli, Peter Gethin, Jo Gartner, Jim Hall, Mike Hawthorn, Brian Henton, Hans Hermann, Phil Hill, Günther Huber, Denis Hulme, Gerad Larrousse, Niki Lauda, Umberto Maglioli, Nigel Mansell, Helmut Marko, Jochen Mass, Jo Siffert, Stirling Moss, Gino Munaron, Alfred Neubauer, Jackie Oliver, Johannes Ortner, Henry Pescarolo, Gunther Phillip, Teddy Pilette, David Piper, Dieter Quester, Joaquin Jo Ramirez, Jochen Rindt, Walter Röhrl, Pedro Rodríguez, Jean Sage, Jody Scheckter, Peter Schetty, Stuck, Marc Surer, John Surtees, Jackie Stewart, Jarno Trulli, Nino Vaccarella, Sebastian Vettel, Luciano Viaro, Jo Vonlanthen, Peter Westbury, Björn Waldegard, Mark Webber, Jo Willenpart, Franz Wittmann, Alexander Wurz, Franz Wurz, Rudi Stohl, Ecurie Vienne, Walter Wolf, Helmut Zwickl,

Sound Of Pantone 21-0317 by Gianni Motti Assistant

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Richard Chartier

⚫️

CD :

Richard Chartier

Retrieval 1 - 5

ERS Records

ERS 007

Limited Edition . 500

Sounds Design Photography . Richard Chartier

Postcard :

Pantone 21-0317

Orange Métallique

Use Hearing Protection

GMA

Planai-Classic 2015 Rubinek Clerici Glöckner Aaltonen Aigner (c) Bernhard Egger :: eu-moto images 5119 by © Bernard Egger 📷

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This work is protected under copyright laws and agreements.

NO RELEASE • NO flickr API • No part of this photostream, none of my work may be copied, reproduced, whole or part, stored in retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior express permission of Bernhard Egger.

If you have do, it will be considered a serious violation of my privacy and copyrights and will be subject to legal ramifications!

Note - you do not have my permission to use any of my profile or pictures in any form or forum both current and future, but some of my works & images can be ► purchased here (en) | (de)

▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀▀

►my profile.. |►collections.. |►my sets.. |► buy it for you..

:: ru-moto is admin of 77 groups • 67 MILLION VIEWS (11/'18)

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★ classic sports cars ★ motorcycles events ★ Mille Miglia | Ennstal-Classic ★ motor sports ★ Oldtimer GP TT ★ fine art

:: Tags: Берни Эггерян, Бернхард Эггер, фото, ru-moto, images, фотограф, photographer, 写真家, Nikon FX, fine art, old stile, photography, Fotografie, Fotográfico, Fotografo, supershot, top shots, passion, Passione, Leidenschaft, emotion, Emozioni, satisfaction, Faszination, enthusiast, classiche, classica, classic, classical, vintage, storiche, historic, historisch, historique, Oldtimer, Heritage, Motorsport, motoring, competizione, motorracing, Rennsport, Rally, Rallye, Automobilsport, sportscars, машина, авто, Automobile, Autos, car, 車, Sportwagen, Rennwagen, Rétromobile, Oldtimersport, Ecurie, veloce, speed, race, racing, race trake, circuit, Rennstrecke, Австрия, Россия, Planai-Classic, Ennstal-Classic, Racecar-Trophy, Sberbank, Сбербанк, ZENITH, Mille Miglia, Targa Florio, Le Mans, Goodwood, FOS, Passione senza Tempo, Event, events, gorgeous, Sportfoto, digital, Canvas Prints, Poster, posters, art print, Kunstdruck, print, prints, quality, authentic, exclusive, original, calendar, postcard, greeting card, gallery, collection, best, art, 摩托, バイク, камера,

:: ru-moto - images of 100 car brands:

Abarth, Abarth-Fiat, AC, Alfa Romeo, Allard, Antas, Alpine, Alvis, Aston Martin, Auburn, Audi, Austin, Austro V, Auto Union, AWE, Bentley, Bizzarrini, BMW, Borgward, Bristol, Bugatti, Byers, Chevrolet, Chrysler, Cisitalia, Citroen, Colani, Cooper, CR Salmson, Dacia, Datsun, Denzel, De Tomaso, DKW, Devin, Ermini, Ferrari, Fiat, Ford, Filandi, Faralli Mazzanti, FMR, GAZ, ГАЗ, Giannini, Gilco, Ginetta, Gordini, Healey, Horch, HRG, IMP, Intermeccanica, Iso, Italia, Jaguar, HWM Jaguar, Lagonda, Lamborghini, Lada, Lancia, Lea Francis, Lotus, March, Marcos, Maserati, Matra, Mazda, Mazzanti, McLaren, Mercedes-Benz, Messerschmitt, MG, Mini, Mitsubishi, Morgan, Morris, Maybach, Nissan, NSU, OM, Opel, Osca, Peugeot, Plymouth, Porsche, Puch, Railton, Reliant, Renault, Riley, Rolls-Royce, Saab, Salmson, Siata, Simca, Skoda, Squire, Stanguellini, Steyr, Steyr-Puch, Talbot, Tatra, Triumph, Uragano, Veritas, Volkswagen, Volvo, Wanderer,

driver legends, Champions, Fahrer, Legenden,

Rauno Aaltonen, Carlo Abarth, Markku Alén, Michele Alboreto, Chris Amon, Mario Andretti, Richard Attwood, Derek Bell, Gerhard Berger, Jo Bonnier, Jack Brabham, Tony Brooks, Eric Carlson, Francois Cevert, Chapman, David Coulthard, Patrick Dempsey, Mark Donohue, Vic Elford, Michael McDowel, Bruce McLaren, De Filippis, Maria Teresa de Filippis, Emerson Fittipaldi, Nanni Galli, Peter Gethin, Jim Hall, Mike Hawthorn, Brian Henton, Hans Hermann, Phil Hill, Günther Huber, Denis Hulme, Gerad Larrousse, Niki Lauda, Umberto Maglioli, Nigel Mansell, Helmut Marko, Jochen Mass, Jo Siffert, Stirling Moss, Gino Munaron, Alfred Neubauer, Jackie Oliver, Johannes Ortner, Henry Pescarolo, Gunther Phillip, Teddy Pilette, David Piper, Dieter Quester, Joaquin Jo Ramirez, Jochen Rindt, Walter Röhrl, Pedro Rodríguez, Jean Sage, Jody Scheckter, Peter Schetty, Stuck, Marc Surer, John Surtees, Jackie Stewart, Jarno Trulli, Nino Vaccarella, Sebastian Vettel, Luciano Viaro, Jo Vonlanthen, Peter Westbury, Björn Waldegard, Mark Webber, Franz Wittmann, Alexander Wurz, Franz Wurz, Rudi Stohl, Ecurie Vienne, Walter Wolf, Helmut Zwickl, Clerici, Roubinek, Aigner, Aaltonen,

Planai-Classic 2015 Rubinek Clerici Glöckner Aaltonen Aigner (c) Bernhard Egger :: ru-moto images 5119

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Maserati 250F/V12 1957 - M.T. de Filippis at Ennstal-Classic 2010

Maria Teresa de Filippis (born 11 November 1926 in Naples, Italy / † 9.1.2016 Scanzorosciate) was the first of five female Formula One racing drivers in the sport's history. She participated in five World Championship Grands Prix, debuting on 18 May 1958. She scored no championship points. She also participated in several non-Championship Formula One races. The four other women who attempted to start in Formula One were Lella Lombardi, Divina Galica, Desiré Wilson and Giovanna Amati.

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Maria Teresa de Filippis (* 11. November 1926 in Neapel / † 9.1.2016) war eine ehemalige italienische Automobilrennfahrerin.

Sie war die erste Frau, die bei einem Formel-1-Weltmeisterschaftslauf startete, und zwar beim GP von Belgien 1958 auf Maserati. Sie beendete das Rennen als Zehnte. Zuvor hatte sie bereits, ebenfalls auf Maserati, Sportwagenrennen bestritten und erfolglos versucht, sich für den GP von Monaco 1958 zu qualifizieren. Bei zwei weiteren Rennen im gleichen Jahr schied sie jeweils aus.

In der Formel-1-Saison 1959 trat sie zum Großen Preis von Monaco auf Porsche an, für den sie sich allerdings nicht qualifizieren konnte. Nach dem Unfalltod ihres guten Freundes Jean Behra auf der AVUS 1959 beendete sie ihre Karriere.

Die gebürtige Neapolitanerin fuhr 1948 ihr erstes Rennen und gewann auf einem Fiat Topolino auf Anhieb ihre Klasse. Bei ihren ersten Rennen traf sie noch mit dem wohl größten italienischen Rennfahrer aller Zeiten zusammen: mit Tazio Tuvolari.

Zwischen 1949 und 1953 holte sie sich viele Siege in einem Fiat-Giannini Sportwagen. 1954 wurde sie Zweite im Straßenrennen Giro die Sicilia. 1955 wurden ihr von Maserati ein Werkswagen zur Verfügung gestellt. Mit einem A6GCS 2000 belegte sie Rang neun in der Targa Florio und Rang drei in den 10 Stunden von Messina. 1956 sah man Maria Teresa wieder auf Maserati bei der Mille Miglia. Beim 1000 km Rennen von Monza schied sie in ihrer Klasse führend aus, bei den 1000 km von Buenos Aires lag sie auf Rang sieben im Gesamtklassement, als sie einen Unfall hatte.

1958 sorgte sie für eine Sensation. Ehrgeizig und furchtlos wie sie nun mal war, debütierte sie in der Formel 1 auf einem Maserati 250F. Immerhin ein Auto, mit dem Fangio im Jahr davor Weltmeister wurde. Im Grand Prix von Syrakus, auf einer besonders gefährlichen Straßenrennstrecke, wurde sie Fünfte, in Monaco hatte sie Motorschaden, im Grand Prix von Europa, in Spa-Francorchamps, wurde sie Zehnte, in Monza schied sie 12 Runden vor Schluss auf Rang fünf liegend aus.

1959 konnte sie sich in Monaco mit dem Spezial-Porsche von Jean Behra nicht qualifizieren. Im 10 Stunden Rennen von Messina wurde sie auf Maserati Dritte. Als Jean Behra am 1. August 1959 beim Sportwagenrennen auf der Avus tödlich verunglückte, beendete sie ihre Karriere. Die Frau, der von Fangio abwärts ein ganzes Grand Prix-Startfeld den Hof machte, heiratete den gebürtigen Wiener Theo Huschek, mit dem sie heute in Oberitalien lebt. Sie ist nicht nur Ehrenpräsidentin des Clubs der einstigen Grand Prix-Piloten, sondern zusammen mit Theo Herz und Seele dieser elitären Vereinigung, zu deren Gründungsmitgliedern der fünffache Weltmeister Juan Manuel Fangio gehörte.

de.wikipedia.org/wiki/Maria_Teresa_de_Filippis

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:: ru-moto images of 100 CAR BRANDS:

Abarth, Abarth-Fiat, AC, Alfa Romeo, Allard, Antas, Alpine, Alvis, Aston Martin, Audi, Austin, Austro V, Auto Union, AWE, Bentley, Bizzarrini, BMW, Borgward, Bristol, Bugatti, Byers, Chevrolet, Chrysler, Cisitalia, Citroen, Colani, Cooper, CR Salmson, Dacia, Datsun, Denzel, De Tomaso, DKW, Devin, Ermini, Ferrari, Fiat, Ford, Filandi, Faralli Mazzanti, FMR, GAZ, ГАЗ, Giannini, Gilco, Ginetta, Gordini, Healey, Horch, HRG, IMP, Intermeccanica, Iso, Italia, Jaguar, HWM Jaguar, Lagonda, Lamborghini, Lada, Lancia, Lea Francis, Lotus, March, Marcos, Maserati, Mazda, Mazzanti, McLaren, Mercedes-Benz, Messerschmitt, MG, Mini, Morgan, Morris, Maybach, NSU, OM, Opel, Osca, Peugeot, Plymouth, Porsche, Puch, Railton, Reliant, Renault, Riley, Rolls-Royce, Saab, Salmson, Siata, Skoda, Squire, Stanguellini, Steyr, Steyr-Puch, Talbot, Tatra, Triumph, Uragano, Veritas, Volkswagen, Volvo, Wanderer,

Design, Bizzarrini, Bertone, BAT, Berlinetta Aerodinamica Tecnica, Bizzarrini Giotto, Felice Mario Boana, Carrozzeria Castagna, Carrozzeria, Carrozzeria Colli, Carrozzeria Fissore, Italdesign Giugiaro, Callum Ian, Dallara Gianpaolo, Miura, De Tomaso Pantera, De Tomaso Alejandro, Gandini Marcello, Lamborghini Miura, Countach, De Simon, Diablo, Lancia Stratos, Carrozzeria Francis Lombardi, Carrozzeria Marazzi, Carrozzeria Scaglietti, Carrozzeria Touring Superleggera, Carrozzeria Varesina, Maserati Khamsin, Friedrich Indra, Fuhrmann, Gamine, Giugiaro Giorgio, Carrozzeria Ghia, Maserati Bora, Pininfarina, Scaglietti, Modena, Christian Nell, Stanzani Paolo, Bugatti EB110, Campogalliano, Touring Milano, Vignale, Zagato, Pedrazza, Werner Zinke,

motorsport photographer legends, Neill Bruce, Colin McMaster, Andrew Morland, Ian Dawson, Geoffrey Goddard, Christian Gonzenbach, Christian Hatton, Louis Klemantaski, Stefan Lüscher, Richard Meinert, F. Naef, Peter Roberts, Alois Rottensteiner, Rainer Schlegelmilch,

driver legends, Champions, Fahrer, driver, Legenden, Rauno Aaltonen, Carlo Abarth, Markku Alén, Michele Alboreto, Chris Amon, Mario Andretti, Richard Attwood, Derek Bell, Gerhard Berger, Jo Bonnier, Jack Brabham, Tony Brooks, Eric Carlson, Francois Cevert, Chapman, David Coulthard, Patrick Dempsey, Mark Donohue, Vic Elford, Michael McDowel, Bruce McLaren, De Filippis, Maria Teresa de Filippis, Emerson Fittipaldi, Nanni Galli, Peter Gethin, Jo Gartner, Jim Hall, Mike Hawthorn, Brian Henton, Hans Hermann, Phil Hill, Günther Huber, Denis Hulme, Gerad Larrousse, Niki Lauda, Umberto Maglioli, Nigel Mansell, Helmut Marko, Jochen Mass, Jo Siffert, Stirling Moss, Gino Munaron, Alfred Neubauer, Jackie Oliver, Johannes Ortner, Henry Pescarolo, Gunther Phillip, Teddy Pilette, David Piper, Dieter Quester, Joaquin Jo Ramirez, Jochen Rindt, Walter Röhrl, Pedro Rodríguez, Jean Sage, Jody Scheckter, Peter Schetty, Stuck, Marc Surer, John Surtees, Jackie Stewart, Jarno Trulli, Nino Vaccarella, Sebastian Vettel, Luciano Viaro, Jo Vonlanthen, Peter Westbury, Björn Waldegard, Mark Webber, Jo Willenpart, Franz Wittmann, Alexander Wurz, Franz Wurz, Rudi Stohl, Ecurie Vienne, Walter Wolf, Helmut Zwickl,

1 5

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motorsport photographer legends, Neill Bruce, Colin McMaster, Andrew Morland, Ian Dawson, Geoffrey Goddard, Christian Gonzenbach, Christian Hatton, Louis Klemantaski, Stefan Lüscher, Richard Meinert, F. Naef, Peter Roberts, Alois Rottensteiner, Rainer Schlegelmilch,

driver legends, Champions, Fahrer, driver, Legenden, Rauno Aaltonen, Carlo Abarth, Markku Alén, Michele Alboreto, Chris Amon, Mario Andretti, Richard Attwood, Derek Bell, Gerhard Berger, Jo Bonnier, Jack Brabham, Tony Brooks, Eric Carlson, Francois Cevert, Chapman, David Coulthard, Patrick Dempsey, Mark Donohue, Vic Elford, Michael McDowel, Bruce McLaren, De Filippis, Maria Teresa de Filippis, Emerson Fittipaldi, Nanni Galli, Peter Gethin, Jo Gartner, Jim Hall, Mike Hawthorn, Brian Henton, Hans Hermann, Phil Hill, Günther Huber, Denis Hulme, Gerad Larrousse, Niki Lauda, Umberto Maglioli, Nigel Mansell, Helmut Marko, Jochen Mass, Jo Siffert, Stirling Moss, Gino Munaron, Alfred Neubauer, Jackie Oliver, Johannes Ortner, Henry Pescarolo, Gunther Phillip, Teddy Pilette, David Piper, Dieter Quester, Joaquin Jo Ramirez, Jochen Rindt, Walter Röhrl, Pedro Rodríguez, Jean Sage, Jody Scheckter, Peter Schetty, Stuck, Marc Surer, John Surtees, Jackie Stewart, Jarno Trulli, Nino Vaccarella, Sebastian Vettel, Luciano Viaro, Jo Vonlanthen, Peter Westbury, Björn Waldegard, Mark Webber, Franz Wittmann, Alexander Wurz, Franz Wurz, Rudi Stohl, Ecurie Vienne, Walter Wolf, Helmut Zwickl,

Planai-Classic 2012 # 27 VW Käfer, 150 HP, 1971 - P. Harrach / M. Glöckner

Open Lotus Blossom by Lawrence Goldman

4

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Motorrad, Moto, motocyclisme, Motorcycle, Motorcycles, Maschine, Motorräder, Motorbike, Motorradrennen, Motorradsport, Мотоциклы и байкеры, 摩托, 車, バイク, دراجةنارية, λέταאופנוע, 오토바이, Motocicletă, Мотоцикл, รถจักรยานยนต์, 摩托车, Motorcykel, Mootorratas, Moottoripyörä, Motosiklèt, Motorkerékpár, Motocikls, Motociklas, Motorsykkel, Motocykl, Motocicleta, Motocykel, Motosiklet, motorbike, klassik, Szene, scene, old,

italian, Aermacchi, Aprilia, Benelli, Bimota, Bianchi, Beta, Cagiva, Ducati, Desmo, Garelli, Gilera, Italjet, Laverda, Magni, Malaguti, Morbidelli, Motobi, Moto Guzzi, MV-Agusta, Parilla, Piaggio, SWM, Corse,

german, Ardie, BMW, Boxer, EMW, Hercules, Horex, Ilo, Kreidler, Maico, Münch, MZ, MuZ, NSU, Blauwal, Sportmax, Neander, Sachs, Triumph, Zündapp,

japan, Bridgestone, Honda, Yamaha, Kawasaki, Suzuki,

ATM, Buell, Bultaco, Böhmerland, CZ, Derbi, Dnepr, Egli, GasGas, Harley Davidson, HD, HOG, Harley, HMW, Husaberg, Husqvarna, Indian, Jawa, KTM, Kymco, Montesa, Panonia, Penton, Puch, Rotax, Ural, IZH, Egli,

Event, Events, Oldtimer Grand Prix, road race, Straßenrennen, Strassenrennen, Bergpreis, Bergrennen, Bergtrophy, Bol D’Or, Grand Prix, IOM, Manx, MotoGP, Gedächtnisrennen, memorial, Tourist Trophy, race trake, circuit, Rennstrecke,

legends, Weltmeister, world champion, Giacomo Agostini, August Auinger, Karl Auer, Steve Baker, Bartol, Jonny Cecotto, Maria Costello, Michael Doohan, Joe Dunlop, Everts, Rupert Hollaus, Mike Hailwood, Carlos Lavado, Eddie Lawson, Marco Luccinelli, Randy Mamola, Alois Maxwald, Minich, Eduard Stöllinger, Phil Read, Kenny Roberts, Heinz Rosner, Valentino Rossi, Jarno Saarinen, Renzo Pasolini, Barry Sheene, John Surtees, Luigi Taveri, Franco Uncini, Freddie Spencer, Bruno Kneubühler, Karl Zach, Peter Aicher,

sidecars, sidecar race, Seitenwagen, Beiwagen, Kneeler, LCR, Klaus Enders, Werner Schwärzel, Siegfried Schauzu, Wolfgang Kalauch, Heinz Luthringshauser, Rolf Steinhausen, Rolf Biland, Klaus Klaffenböck, Klaffi, Christian Parzer, George O'Dell, Jock Taylor, Alain Michel, Egbert Streuer, Steve Webster, Darren Dixon, Paul Güdel, Steve Abbott, Tim Reeves, Tristan Reeves, Pekka Päivärinta, Adolf Hänni, Ben Birchall, Tom Birchall, Josef Moser, Michael Grabmüller, Gerhard Hauzenberger, Helmut Wechselberger,

4

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photographer legends, Neill Bruce, Colin McMaster, Andrew Morland, Ian Dawson, Geoffrey Goddard, Christian Gonzenbach, Christian Hatton, Louis Klemantaski, Stefan Lüscher, Richard Meinert, F. Naef, Peter Roberts, Alois Rottensteiner, Rainer Schlegelmilch, Бернхард Эггер фото,

:: ru-moto images of 100 CAR BRANDS:

Abarth, Abarth-Fiat, AC, Alfa Romeo, Allard, Antas, Alpine, Alvis, Aston Martin, Audi, Austin, Austro V, Auto Union, AWE, Bentley, Bizzarrini, BMW, Borgward, Bristol, Bugatti, Byers, Chevrolet, Chrysler, Cisitalia, Citroen, Colani, Cooper, CR Salmson, Dacia, Datsun, Denzel, De Tomaso, DKW, Devin, Ermini, Ferrari, Fiat, Ford, Filandi, Faralli Mazzanti, FMR, GAZ, Giannini, Gilco, Ginetta, Gordini, Healey, Horch, HRG, IMP, Intermeccanica, Iso, Italia, Jaguar, HWM Jaguar, Lagonda, Lamborghini, Lada, Lancia, Lea Francis, Lotus, Marcos, Maserati, Mazda, Mazzanti, McLaren, Mercedes-Benz, Messerschmitt, MG, Mini, Morgan, Morris, Maybach, NSU, OM, Opel, Osca, Peugeot, Plymouth, Porsche, Puch, Railton, Reliant, Renault, Riley, Rolls-Royce, Saab, Salmson, Siata, Skoda, Squire, Stanguellini, Steyr, Steyr-Puch, Talbot, Tatra, Triumph, Uragano, Veritas, Volkswagen, Volvo, Wanderer,

Boscoreale Julio Claudian Vessel 1 by Joe Geranio

1

Augustus receiving the surrender of barbarians.

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

portraitsofcaligula.com/

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

Preferred Citation: Kuttner, Ann L. Dynasty and Empire in the Age of Augustus: The Case of the Boscoreale Cups. Berkeley: University of California Press, c1995 1995. ark.cdlib.org/ark:/13030/ft309nb1mw/

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Conclusion: The Boscoreale Cups and Roman Art

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Conclusion:

The Boscoreale Cups and Roman Art

I should like to do two things here. One is to sum up the major art-historical findings of this study, as the last chapter commented on its historical findings. The other is to speak directly about my own methodology as a Roman art historian; this might seem to be more appropriate in an introduction to a study of this kind, but I feel that only the reader who has absorbed at least some of this work will be critically equipped to judge the efficacy and clarity of my approach. Its first principle is simply to ask of any period, What works of art existed, and what did they look like? So much has been lost, and lost permanently beyond all hope of retrieval; thus all fragments, hints, and indications become, like the BR cups, extremely valuable. Although it is difficult to keep always in mind an imaginative construct to supplement the poor reality of the tangible remains, the rewards of such effort are considerable. For instance, Eck stresses how the arrangement of inscriptions, often all we have left of ancient dedications, can indicate the basic structure of the lost statuary above; his point seems simple, but he was the first to consider in this light inscriptions known for over fifty years and to reconstruct from its base an actual monument of the kind long postulated as prototype for the famous Puteoli base of Tiberius (figs. 47, 62)[1]

The reader will have noted throughout a concern with the relationship of spectator to object, in terms of the intent of the original designer(s) and patron(s) who engendered Roman images, with regard to the audiences whom they wished to comprehend these images' didactic content and to appreciate their esthetic structures. In visual, as in verbal, communication, true comprehension depends on a shared language of forms and symbols; an iconographer must, like a historian, strive to the best of her necessarily limited powers to reconstruct the relevant prior experience and assump-

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tions of the persons whose perceptions she investigates. This truism is very seldom made explicit. I stand here behind T. Hölscher's unparalleled 1984 essay on the question of the Publikum for the state monuments we seek to interpret today, though I am more optimistic that one can know something of audiences besides those of the elite "senatorial" level. This optimism—though austere and limited—is founded on the principle of the lowest common denominator, the value of badly made and/or mass-produced, relatively cheap artifacts. I believe that the basic symbolic language available to classes other than the elite can be discerned in the often drastically simplified elements of "high" ideology and iconography that make it onto the crude glass pastes that crowd the back pages of gem catalogues, onto matrix-stamped military armament decoration, onto Arretine ware pottery molds, and so forth. Obviously, I also believe that numismatic designs were very often intended to disseminate legible imagery for political purposes, that the state coinage did indeed function as a vehicle for political propaganda directed toward the uneducated, as well as educated, classes; I also think these messages were usually obvious and simple.

I have been speaking of audiences and messages in the plural. A natural consequence of the multiple stratifications of society in the Roman Empire was a differentiation of culture and a variation in cultural sophistication among different classes, peoples, and regions in the Empire. It is also plain that the most capable Roman patrons were (like Greeks before them) interested in creating monuments and images that spoke to more than one segment of society and that had more than one symbolic message. To describe this quality in a work of art, multi- or polyvalency is a common image usefully borrowed from the vocabulary of atomic structure. I find useful the notion of resonance, transferred from the realm of musical effects to the world of artifacts. As the striking of a piano key produces a sound with multiple tones, so the impact of the Gemma Augustea (fig. 16) or Arch of Constantine on thoughtful vision sets off not a unitary impression but a series of related multiple impressions; the proximity and/or prior existence of related monuments known to the spectator weaves a kind of web of associations comparable to the resonant effects produced by the proximity of other strings to the piano key actually struck.

The danger in reconstructing the original resonances of an extant monument is that one will read into the work messages not intended for the original Roman audience. One can so easily become oversubtle, assert too much rather than too little. There are two brakes on exegetical speed-

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ing; first, to be explicit and knowledgeable about the historical audience postulated for an artifact; second, always to look for parallels to show that the reading one proposes was at least possible in a given context. Truisms again, but not always appreciated or observed. Only multiple occurrences of a given symbol or form justify the assertion of a pattern of action, whether formal (style) or symbolic (iconography). One needs also a plausible hypothesis to account for such patterns: one must try to document the means by which an artist or his audience could have seen the images by which they are held to have been influenced, and this takes one back to the question of a given audience and the imagery accessible to it. To cite a classic instance, it is often asserted that the architectural form of the Ara Pacis deliberately echoes that of the Athenian Altar of Pity. If true, the quote can have been expected to be legible only to the elite, who would have traveled to Athens, not to the Roman plebs; on the other hand all segments of the urban population can be expected to have recognized the parallel with the Januum, one of the oldest, most prestigious, and most central of all sanctuaries in the capital.

I have acknowledged my debt to the investigative approach formulated by Hölscher. I have gained much from the implicit and explicit definitions developed by many others of what evidence is relevant to interpreting Roman political art. It should be clear by now that often I find myself in the company of the contemporary German art historians Zanker, Simon, Fittschen, et al., asking similar questions of similar material; asked to assign myself to a "school," I should name also the Italians, F. Coarelli and M. Torelli. My real debt to Coarelli's efforts to understand artistic production in terms of patronage and the politically charged architectural geography of Rome is obscured here by the fact that this work explores mainly imperial, rather than Republican, art. Even where I disagree with Torelli's conclusions, I have tried to keep in mind the imperative heading his essays on Roman historical relief: Roman narrative and commemorative art can be illuminated by Roman texts, but they must be texts with a cognate function. Finally, in all projects I have ever undertaken with regard to Roman art, I am in debt to Otto Brendel's Prolegomena to the Study of Roman Art (New Haven, 1979): his definitions of the essential questions asked (and not asked) of Roman art and his vision of multiple lines of development separated by medium and genre have irrevocably marked my own perceptions of Roman images.

The consequences of holding to these tenets are evident in my readings of the Boscoreale Cups and of many other monuments besides. The Boscoreale Cups, and the monument from which they were copied, have been

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demonstrated primarily on political grounds to be works of Augustus' reign, specifically of the period between Tiberius' triumph in 8/7 B.C. and his exile in 6 B.C. Now firmly dated, these panels are important to the stylistic history of Roman relief; they illuminate the early occurrence not only of stock figures common in the later canon but of experiments with complex figure groupings and the depiction of "space" that are not usually associated with Augustan art. No aspect of compositional structure in these panels is discordant with the date reached on iconographic grounds; the three-beat structure of the allegory BR I:1, for instance, is typical of classicizing Augustan work in many media. Indeed, if it were absolutely necessary, the pieces could be plausibly dated between the Ara Pacis (13-9 B.C.) and the Gemma Augustea (A.D. 10–14) purely by stylistic analysis. I have discussed at many points the formal congruence of the cups with the Ara Pacis; the Gemma Augustea's upper register has compositional structures very similar to the BR audience scenes and displays a different, but no less complex, exploration of the alignment of figures in space (fig. 16). The "dating" value of the Ara Pacis is as a public sculptural monument exemplifying the best work of the court ateliers; the Gemma Augustea indicates a familiarity on its artist's part with monuments on a similar scale, for radical stylistic (as opposed to iconographic) experimentation is not to be expected of any gem cutter's workshop.

This book has tried to explain, as completely as possible, the imagery of the Boscoreale Cups. The listing of parallels as a mode of scholarship is mere antiquarianism if it is seen as an end and not as a means; inevitably, some of my "lists" have remained at this level, but these investigations have always tried to ask the primary questions What does image X signify, why is it used, and what is it doing on the Boscoreale Cups? In the search for a compelling argument I have tried to cast my net as wide as possible, to bring forward all relevant available evidence from textual and visual sources; my lapses will, I hope, be corrected by others in the same benevolent spirit of argument in which I have critiqued the interpretations of the scholars whose work fed mine.

The effort to explain generated many tangents and thematic excursuses. The process of explanation works both ways: images adduced to explain the BR cups are themselves illuminated by the process of explanatory ordering. Thus the cups prove to be valuable points of comparison for understanding many other works, under two main headings: the modes of policy and propaganda that much Roman art was intended to serve, and the complex patterns of form, temporality, and causation with which Roman narrative and commemorative arts concerned themselves as pri-

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mary objects of artistic endeavor. The purview of the book ranges from the earliest to the latest products of the Roman city-state, from terracotta pediments erected by nameless Republican nobiles to the monuments of the generals contesting and defending the late Empire; it takes in the Anaglypha Traiani and the Hadrianeum, the Ludovisi sarcophagus and the arches of Galerius and Constantine, the Beneventum Arch of Trajan, the Throne of Claudius and the Puteoli base, cuirass statues famous (Primaporta, Cherchel) and obscure (Castello d'Aglie, Amphipolis), famous and not-so-famous cameos, Arretine ware, military decoration, the imperial fora and the Aphrodisias Sebasteion, the cenotaph of Gaius at Limyra and of Drusus at Mainz . . .

The central contribution of this book to Roman art history is, I hope, a better understanding of Augustan artistic production, reached in the process of embedding the BR cup panels firmly in the high road of the Augustan monumental tradition. This enlarged understanding has two aspects. First, these investigations have radically enlarged and deepened our knowledge and comprehension of many individual works of art and coin images. The monument most significantly illuminated in this way is that marble microcosmos the Ara Pacis Augustae, especially in regard to its celebration of the worldwide Roman imperium and the imperial nature of Augustus' pax; for it is now clear beyond a shadow of a doubt that children of foreign rulers march in the processions of the Ara Pacis, and I have tried to stress the importance of others' findings that the peoples of empire were personified on the inner altar. Hardly another aspect of the Ara Pacis, whether of iconography, temporal or conceptual structure, landscape or relief style, cannot benefit from comparative analysis of the BR cups.[2]

Second, these investigations have significantly expanded our knowledge of specific Augustan artistic genres and themes. One can now be much more specific about that acknowledged phenomenon, the paradigmatic influence of Augustan monuments and imagery on later imperial artistic production. No longer will it be possible to contemplate Hadrianic ethnic personification groups in ignorance of the many Augustan examples, their Republican roots, and their Julio-Claudian "offspring"; the seated togate statue will not be a mysterious, ill-considered figure type; no longer will the great Flavian and second-century achievements in historical relief seem to have arisen from a near vacuum. At the same time, the book has tried to show how the Augustan production was itself grounded in Republican political and creative culture, even as Augustus' artists draw on all the resources of their Classical and Hellenistic heritage to put an Augustan stamp on this latest phase of Republican culture.

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This widened perspective strengthens the appreciation of certain themes as peculiarly Augustan. For instance, the observable Augustan interest in images of children, especially very little children, is exemplified by BR I; this theme seems to be consciously evoked only and to a limited extent in Trajanic art, although the institution (alimenta ) with which it is there associated was important politically both under Trajan's predecessor Domitian and his successor Hadrian. Under both headings, individual monuments and genres, our understanding of the self-images that Augustus sought to promulgate has been enhanced. The parameters often ascribed to the terms of his self-glorification have been permanently broadened: the public Augustus must now include the Jupiter-consul of BR I:1, who joins the naked, heroized Augustus of (lost) commemorative statuary whom Zanker, Coarelli, and others have stubbornly brought to our attention in recent years.

Comprehensive stylistic comparison with the extant canon of Republican and Julio-Claudian art has not been my aim. Now that the BR cups are more firmly dated, such comparison becomes possible; one can hope to see them enter broader discussions of Roman relief style. In closing I would like to comment on an artistic aspect of BR I:1 not previously discussed that may illustrate the inherent possibilities of such comparative analysis for enlarging our appreciation of Augustan art in general.

On BR I:1 in the allegory of Augustus' world rule Venus is about to "make" the Curia Actium Victory group (cf. fig. 20). Mars too is about to "make" a sculpture group, of a type well documented in the Augustan and Julio-Claudian periods (see pp. 41f); a class of honorific monuments in Rome showed a Roman magistrate standing or seated in the midst of a group of personifications of peoples or communities whom he had benefited. In the implied narrative here, once Mars brings up his group and they range themselves before the emperor, such a grouping will come to pass. The viewer's full appreciation of the narrative is conditional upon his knowledge of such public monuments. It was by now commonplace in Greco-Roman art to show the performance of simple acts of construction such as the decking of a trophy or the inscribing of an honorific shield by a goddess. It seems, however, to be a mark of Augustan political art that narrative at all levels, physical and symbolic, should so often be structured by such visual puns.

This characteristic indicates a high level of sophistication on the part of the artist and the audience expected to appreciate and relish such an aspect; it also assumes a high degree of familiarity with prominent individual examples of official monuments. This kind of narrative-visual structure

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can be observed on the Augustan Arcus Novus panel (fig. 12), where Amor floats through the air toward Venus' shoulder, intending to land there, as on the Ravenna relief (fig. 8), where his legs still kick in the air. It is also evident on the Belvedere altar's main panel (fig. 11); between the two laurel trees of Augustus' Palatine abode Victory floats to earth to place Augustus' clipeus virtutis on its pillar, as it appeared in the Curia.[3] And it structures the literal narrative of the bottom half of the Gemma Augustea (fig. 16), as well as the symbolic narrative of the entire cameo. In the lower exergue a trophy group is being put together—soldiers haul up the central wooden post, a captive barbarian couple are already positioned at its foot on the left, as another pair of soldiers haul over a man and woman meant to flank the post on the right, to build a Roman trophy group of classic type known from countless representations in art and probably enacted in actual triumphal parades. The soldiers at left heave the main tree toward Augustus as Tiberius overhead moves down toward him in the upper panel along a converging path; the strong sense of two dynamic lines of motion converging simultaneously on Augustus, in the two fields/worlds on the cameo, is conceptually very like the BR panel, where the two surges of motion occur within a single panel. (The lower exergue as an isolated unit has a structure parallel to the cup panel: motion from the sides toward the center.) This parallelism already sets up a symbolic narrative that is given more definite shape in the implied "future" when the trophy will be exactly between Augustus (note the position of its foot) and Tiberius, who will be immediately before him—emperor and heir aligned on a "real" historical axis of victory.

Presented with such compositions, the viewer gets double for his money: he gets the composition as it exists, a glimpse of figures in action aligned in a meaningful pattern, and he is also given an evocation of an alignment that is about to evolve out of the one that he sees. This implicit second alignment not only extends the symbolic message he can read but also anchors the artistic construct he sees to other artistic constructs he already knows; because the mind is tugged toward the familiar composition just over the temporal horizon, these tableaux are given a real temporal dynamism.

Self-conscious artistic reference to other works of art is a well-known hallmark of Hellenistic and Roman literary art. In the visual arts it operates at a basic level in all iconographic correspondence, as in the individual figures and pairings of the BR allegory. It has not, however, been noted before as operating at the narrative level and in a temporal dimension, as here in these Augustan pieces.[4] The Boscoreale Cups testify that even if

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written discourse on art was mainly limited (as in Pliny) to "Old Masters," at least some Romans some of the time noticed and enjoyed the contemporary products of Augustus' sculptors. And the kind of visual game just outlined is further proof that we are not different from the Romans of 7 B.C. in giving serious attention to and finding pleasure in the world of Augustan art.

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Conclusion: The Boscoreale Cups and Roman Art

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Preferred Citation: Kuttner, Ann L. Dynasty and Empire in the Age of Augustus: The Case of the Boscoreale Cups. Berkeley: University of California Press, c1995 1995. ark.cdlib.org/ark:/13030/ft309nb1mw/

Lobster Retrieval (with Friends) by AntyDiluvian

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Outside the Karibuni Restaurant on Pinel Island. The guy had just plucked a lobster from the green mesh crate it was kept in after it was caught. It would soon be somebody's lunch.

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