Index of Images, Part XI: Barbara F. McManus

Go to Index, Part I, Part II, Part III, Part IV, Part V, Part VI, Part VII, Part VIII, Part IX, Part X, Part XII, Part XIII, Part XIV, Part XV, Roman Coins: Republic and Principate, Roman Coins: Empire, Greek Coins, Coins from the Museum of Cultural History, University of Oslo, Coins from the National Museum in Warsaw, Poland, Coins from the Hunterian Museum

gold cuff bracelet; Etruscan, mid-seventh century BCE
The fine granulated decoration includes rows of three female figures clasping hands.
Rome, Vatican Museum (Etruscan Museum). Credits: Barbara McManus, 2004
Keywords: jewelry, armilla

large gold fibula; Etruscan, mid-seventh century BCE
The fine granulated decoration includes various geometric designs.
Rome, Vatican Museum (Etruscan Museum). Credits: Barbara McManus, 2004
Keywords: jewelry, pin

large gold earring; Etruscan
A female head, also wearing earrings, is surrounded by dangling amphorae.
Rome, Villa Giulia Museum. Credits: Barbara McManus, 2007
Keywords: jewelry

black-figure amphora depicting warrior fighting Amazon; Greek, Attic, 540-30 BCE
detail, combatants
The vase is painted in the manner of the Princeton Painter.
Rome, Villa Giulia Museum. Credits: Barbara McManus, 2007
Keywords: vase painting, Amazonomachy

statue of Erato, Muse of Lyric Poetry; Roman, 2nd century CE
Erato, whose name is derived from eros (love, passion), is shown seated, playing a lyre; the statue was found near Tivoli.
Rome, Vatican Museum (Hall of the Muses). Credits: Barbara McManus, 2003
Keywords: sculpture, music, mythology

portrait bust of Claudia Octavia; Roman, mid-first century CE
Claudia Octavia was the ill-fated daughter of the emperor Claudius and Messalina; she was married to Nero, who banished and then executed her in 62 CE. The bust was found on the Via Varese in Rome.
Rome, Palazzo Massimo alle Terme (National Museums). Credits: Barbara McManus, 2007
Keywords: sculpture, Julio-Claudian empress

portrait bust of Octavian; Roman (from the Albani Collection), 35-29 BCE
Octavian, the future Augustus, is shown wearing a military cloak (lacerna) fastened with a brooch.
Rome, Palazzo Nuovo (Capitoline Museums). Credits: Barbara McManus, 2007
Keywords: sculpture

drawing of the route of the Via Ostiense leading from Ostia to Rome.
The drawing also shows the course of the Tiber River, the city of Ostia and Portus, the artificial harbor constructed by Claudius and opened under Nero; for more information on Portus see "The Harbour of Claudius" (will open in new window).
Rome, Museo della Via Ostiense. Credits: Barbara McManus, 2004
Keywords: shipping; trade; commerce

Latin inscription on bronze tablet; Roman (from southern Italy), 186 BCE
The inscription records the Senatus Consultum de Bacchanalibus, which prohibited the celebration of Bacchanalia, rites in honor of the god Bacchus, throughout Italy.
Vienna, Kunsthistorisches Museum. Credits: Barbara McManus, 2006
Keywords: religion, bacchants, Dionysus

gold bracelet; Hellenistic-Egyptian, first century BCE - first century CE
This elaborate bracelet combines religious, fertility, and erotic symbolism. Two snakes entwine to form a Herakles knot; the snake on the left is Agathodaimon, associated with Serapis, and the cobra on the right is Terenouthis, sacred to Isis. Between them stand the goddesses Isis-Tyche-Fortuna and Aphrodite, nude goddess of love.
New York, Metropolitan Museum of Art. Credits: Barbara McManus, 2007
Keywords: jewelry

sardonyx cameo of woman with laurel wreath; Roman, Julio-Claudian era (setting is modern)
Possibly a portrait of Antonia Minor, mother of Claudius.
Boston, Museum of Fine Arts. Credits: Barbara McManus, 2002
Keywords: imperial family

sardonyx cameo of Nero and Claudia Octavia; Greco-Roman, from the Fayum in Egypt
The cameo may have been made to commemorate the marriage of Nero to Octavia, daughter of the emperor Claudius, in 53 CE. It depicts a youthful Nero with his new bride; note the well-defined straps of Octavia's stola, mark of the married woman.
Boston, Museum of Fine Arts. Credits: Barbara McManus, 2002
Keywords: imperial family; dress

life-size marble statue of Sabina, wife of emperor Hadrian; Roman, c. 136 CE
detail, head of Sabina. This statue was among the items that the Museum of Fine Arts recently returned to Italy.
Boston, Museum of Fine Arts. Credits: Barbara McManus, 2002
Keywords: imperial family, empress

marble bust of Julius Caesar; Roman, last quarter of the first century BCE
detail, head of Julius Caesar.
Vienna, Kunsthistorisches Museum. Credits: Barbara McManus, 2006
Keywords: portrait

Parian marble bust of Cleopatra VII; Roman, found at the Villa of the Quintilii on the Via Appia;
side view.
Cleopatra wears a melon hairstyle with a bun and a broad diadem; the portrait resembles coins of Cleopatra minted at Ascalon and Alexandria. The hair is damaged in the front; the knob at the top may have been part of her hairstyle or a headdress such as a lotus crown or uraeus (cobra headdress).
Rome, Gregoriano Profano, Vatican Museums. Credits: Barbara McManus, 2007
Keywords: portrait, Egypt; Ptolemaic dynasty

marble bust of Cleopatra VII; Roman, from a private villa on the Via Appia south of Rome, 40-30 BCE;
smaller version; side view; smaller version.
Cleopatra wears a melon hairstyle with a bun and a broad diadem; the portrait resembles coins of Cleopatra minted at Ascalon and Alexandria. In this view, the "ghost of Caesar" can be seen in the background.
Berlin, Altes Museum. Credits: Barbara McManus, 2012
Keywords: portrait, Egypt; Ptolemaic dynasty

portrait of a woman resembling Cleopatra VII; Roman, second half first century BCE
side view
Originally identified as a bust of Cleopatra herself, this is now thought to represent a woman of the queen's entourage, perhaps one who accompanied her to Rome from 46-44 BCE. The hairdo is not the same as Cleopatra's on coins, and there is no royal diadem.
London, British Museum. Credits: Barbara McManus, 2006
Keywords: portrait, Egypt

cameo depicting Cleopatra and Antony (possibly some modern reworking)
The cameo idealizes both rulers and resembles cameos representing earlier Ptolemaic pairs such as Ptolemy II Philadelphus and Arsinoe II.
Berlin, Altes Museum. Credits: Barbara McManus, 2005
Keywords: portrait; Egyptian dynasty

layered onyx cameo of a Ptolemaic queen; Greco-Egyptian, Hellenistic period
Boston, Museum of Fine Arts. Credits: Barbara McManus, 2002

cameo depicting Livilla as Ceres with her new-born twins; Roman, 19 CE
Livilla was the daughter of Antonia and Drusus (son of Livia) and the wife of Drusus the Younger, son of the emperor Tiberius. This cameo commemorates the birth of twin sons in 19 CE; her fertility is celebrated through attributes of the goddess Ceres, since she wears fillet and a wreath of grain, while one of her infants holds a cornucopia.
Berlin, Altes Museum. Credits: Barbara McManus, 2005
Keywords: portrait; imperial family

painted panel, family of Septimius Severus; Roman, tempera on wood, found in Egypt, c. 200 CE;
smaller version.
This is the only extant painting of an imperial family. On the top level are portraits of the empress, Jula Domna, wearing a gold diadem, large pearl necklace, and earrings with triple pearls, and the emperor, Septimius Severus, wearing a gold crown studded with large jewels. Their two sons appear on the lower level. Caracalla is shown with curly hair and a smaller gold crown, but the face of Geta has been obliterated due to the damnatio memoriae that was decreed by Caracalla after he had his younger brother murdered in 211 CE. All three males are shown holding scepters.
Berlin, Altes Museum. Credits: Barbara McManus, 2012
Keywords: portrait; imperial family

gold ring with carnelian cameo bust of Livia; Roman, 10-20 CE
The ring was among the "treasure of Petescia" in Umbria, Italy, buried in sometime between 10 and 20 CE, perhaps by someone with connections to the imperial family.
Berlin, Altes Museum. Credits: Barbara McManus, 2005
Keywords: portrait; imperial family; jewelry

sardonyx cameo depicting Venus and Adonis; Roman, beginning first century CE
Adonis leans back against the goddess, who embraces him. To the left is a Dionysiac thrysus, and at the top is a small statue of Priapus.
Vienna, Kunsthistorisches Museum. Credits: Barbara McManus, 2006
Keywords: erotic; mythology; Aphrodite

gold ring with carnelian cameo depicting Hercules shackled by Cupid; Roman, first century BCE
Hercules sits on a mound with his lionskin and club while Cupid binds his hands behind his back, an allegory for the conquest of strength by erotic passion.
Vienna, Kunsthistorisches Museum. Credits: Barbara McManus, 2006
Keywords: jewelry; mythology; Heracles; Eros; Amor

marble votive relief with nymphs; Hellenistic Greek, third century BCE
The three nymphs, dressed in peplos tunics and stylishly coiffed, clasp hands. The relief is adorned with flowers and vessels.
Vienna, Kunsthistorisches Museum. Credits: Barbara McManus, 2006
Keywords: mythology; women's clothing

detail, black-figured lekythos; Attic, c. 540 BCE
Women weaving at a loom. Attributed to the Amasis Painter.
New York, Metropolitan Museum of Art. Credits: Barbara McManus, 1992
Keywords: textiles, weave, clothing

white-ground oinochoe; Attic, c. 490 BCE
Attributed to the Brygos Painter. detail, woman spinning. She holds a distaff in her left hand and pulls out the unspun wool with her right. The spindle, weighted with a whorl, dangles below.
London, British Museum. Credits: Barbara McManus, 1999
Keywords: textiles, spin, clothing

large bronze fountain sculpture group; Roman, second half of the second century BCE
The goddess Cybele in a wagon drawn by two lions (originally waterspouts projected from the lions' mouths).
detail, Cybele; the goddess wears a mural crown and holds a patera and tympanum.
New York, Metropolitan Museum of Art. Credits: Barbara McManus, 2007
Keywords: religion, Magna Mater, Great Mother

detail, Lucanian tomb painting; fifth century BCE
A winged female death demon draws a deceased woman on to a boat to the underworld.
Paestum, National Archaeological Museum of Paestum. Credits: Barbara McManus, 1979
Keywords: Magna Graecia, funerary, Italic art

sarcophagus relief of muses; Roman, third century CE
The husband sits at one end, depicted as a poet holding a scroll; his wife sits at the other end, depicted as a lyre player. Eight muses, symbolized by the feathers on their heads, surround the deceased (perhaps the wife was intended to be seen as the ninth muse). Some of the muses' attributes have been incorrectly restored.
Rome, Museo Pio-Clementino, Vatican Museums. Credits: Barbara McManus, 2003
Keywords: Muses, funerary, music

marble statue of a woman; Roman
The statue, which apparently depicts Cleopatra VII, was allegedly found on the Via Cassia near the so-called "Tomba di Nerone."
Rome, Museo Pio-Clementino, Vatican Museums. Credits: Barbara McManus, 2003

painting, Mars Being Disarmed by Venus; Jacques-Louis David, 1824
Venus and her nymphs persuade the god of war to relinquish his armor and weapons.
Brussels, Royal Museum of Ancient Art of Belgium. Credits: Barbara McManus, 2003
Keywords: mythology, allegory, Aphrodite, Ares

painting, Hercules and the Lernaean Hydra; Gustave Moreau, 1875-76
Chicago, Institute of Fine Arts. Credits: Barbara McManus, 2003
Keywords: mythology, Herakles

painting, Perseus and Andromeda; Guiseppe Cesari, known as the Cavalier d'Arpino, 1602
The hero swoops down on Pegasus, with the head of Medusa on his shield, to combat the sea monster that is menacing Andromeda.
Vienna, Kunsthistorisches Museum. Credits: Barbara McManus, 2006
Keywords: mythology

painting, Cleopatra's Banquet; Gerard de Lairesse, 1680
Antony, dressed in armor, sits at one end of the lavish table. At the other end, Cleopatra is about to remove a pearl earring to dissolve it in vinegar and drink it.
Amsterdam, Rijksmuseum. Credits: Barbara McManus, 2003

painting, Pallas Athene; Gustav Klimt, 1898
In this haunting art nouveau painting, the red-haired, flashing-eyed goddess wears the Gorgon aegis. Behind her head can be seen shadowy figures from a Greek vase painting depicting Athena supporting Herakles as he wrestles with Triton. Instead of a winged Nike, her right hand supports a small naked female standing on a globe and holding up a beacon light or shining mirror.
Vienna, Wien Museum Karlsplatz. Credits: Barbara McManus, 2006
Keywords: mythology

onyx cameo of eagle; Roman, 27 BCE
larger version. The eagle holds in its claws a palm branch and laurel leaf crown, symbols of victory. The cameo was probably made to celebrate Augustus' "restoration of the Republic" that year. The frame dates from the sixteenth century.
Vienna, Kunsthistorisches Museum. Credits: Barbara McManus, 2006
Keywords: imperial symbolism

terracotta figurine; Greek, from Tarento, third century BCE
This charming domestic figurine depicts a standing mother with two children; she holds one boy on her shoulder while the other attempts to pull himself up her body by clinging to her tunic.
Amsterdam, Allard Pierson Museum. Credits: Barbara McManus, 2003
Keywords: family

red-figure volute krater; Apulian, attributed to the "Underworld Painter," 330-20 BCE
This large vase depicts the myth of Medea; the style of clothing indicates that the vase references a performance of a tragic drama.
detail, death of the princess: In the center, the princess is dying after putting on the poisoned garments that were a "gift" from Medea; to the left, her father, King Creon, attempts to help her and is himself poisoned, while Jason, on the right vainly tries to pull the flaming diadem from her head. Medea's old nurse, who delivered the gifts, flees on the right. detail, Medea kills her sons: Medea is about to slay one of her sons with a sword, while Jason vainly tries to save the other. The sun god waits to carry Medea off in a chariot drawn by serpents.
Munich, Antikensammlung. Credits: Barbara McManus, 2005
Keywords: mythology, tragedy, Euripides, drama; vase painting

red-figure volute krater; Apulian, attributed to the "Underworld Painter," 330-20 BCE
This large vase depicts the mythological Hades. Sol and Luna drive their four-hoerse chariots across the sky on the neck of the vase. In the center scene, depicting the underworld palace, Hades sits enthroned like Zeus, holding a scepter topped with an eagle, while his wife Persephone holds a long pole with four torches. To the left of the palace, Orpheus plays his cithara, while the three judges of the underworld --Rhadamanthus, Minos, and Aeacus--converse on the right. On the bottom register are scenes from Tartarus. On the left, a Fury torments Sisyphus with a whip as he seeks to roll his stone up the hill (see detail of Fury). In the center and right scene, Hercules, watched by a Fury carrying torches, holds the three-headed Cerberus on a leash and the starving Tantalus reaches up for food that will forever elude his grasp.
Munich, Antikensammlung. Credits: Barbara McManus, 2005
Keywords: mythology, death; vase painting

red-figure loutrophorus; Apulian, attributed to the "Underworld Painter," 330-20 BCE
This large vase, designed to carry water for ritual baths, depicts the myth of Lycurgus, a Thracian king who banned the worship of Dionysus. In the upper register of the vase, Lycurgus holds the body of his wife, whom he has just stabbed. On his right a snake-wielding Fury with a panther at her feet symbolizes the madness caused by Dionysus.
Munich, Antikensammlung. Credits: Barbara McManus, 2005
Keywords: mythology; Bacchus' vase painting

central panel of so-called "Ludovisi throne"; Greek from Magna Graecia, c. 460 BCE
The throne was probably taken from the sanctuary of Aphrodite at Locri and used in ritual celebrations. The back depicts the birth of Aphrodite from the sea; she is supported by two nymphs.
view of back with right side panel; detail, right side panel. This side depicts a seated young female, fully draped, holding an incense container and probably performing a religious ritual.
view of back with left side panel; detail, left side panel. This side depicts a seated young female, naked, playing a double flute.
Rome, Palazzo Altemps (National Museums). Credits: Barbara McManus, 2003
Keywords: feminine symbolism, Venus

three styli; Roman
The pointed end of the stylus was used for writing on the soft wax coating of wooden tablets; the broad, flat end was used for erasing. The styli on the left and right are bronze; the middle is iron with a bronze sheathing.
London, British Museum. Credits: Barbara McManus, 2006
Keywords: writing, wax tablet

model of the Temple of Apollo on the Palatine; modern (plastico of fourth century CE city)
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: religion; city of Rome

model of the Temple of Isis and Serapis in the Campus Martius; modern (plastico of fourth century CE city)
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: religion; city of Rome

model of the Temple of the Deified Claudius from the front; modern (plastico of fourth century CE city)
model of the Temple of Claudius from the side.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: religion; city of Rome

model of the foot of the Aventine with probable location of the Temple of Ceres, Liber, and Libera; modern (plastico of fourth century CE city)
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: religion; city of Rome

model of the back of the Baths of Nero from ground level; modern (plastico of fourth century CE city)
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: leisure; bathing; city of Rome

model of the front of the Baths of Nero and the Stagnum Agrippae from above; modern (plastico of fourth century CE city)
view of this complex from the side;
view of the pool in the Baths of Nero.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: leisure; bathing; city of Rome

plan of the Baths of Nero with labels
Credits: Barbara McManus, 1998
Keywords: leisure; bathing; city of Rome

model of front of the Baths of Trajan from above; modern (plastico of fourth century CE city)
model of back of the Baths of Trajan from above;
detail, pool in the Baths of Trajan;
detail, western garden in the Baths of Trajan with probable location of the library;
detail, eastern garden in the Baths of Trajan;
detail, theater at the rear of the Baths of Trajan.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: leisure; bathing; Trajan's Baths; city of Rome

model of Colosseum area; modern (plastico of fourth century CE city)
Besides the Flavian Amphitheater, one can see the colossal statue of Nero (Colossus), the fountain called the Meta Sudans, and the Arch of Constantine.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: leisure; sports; arena; city of Rome

model of the Theater and Crypta of Balbus from side at ground level; modern (plastico of fourth century CE city)
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: leisure; city of Rome

model of the Theater and Crypta of Balbus from above; modern (plastico of fourth century CE city)
One can see the cavea and the Portico of Octavia.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: leisure; city of Rome

model of the Theaters of Pompey and Balbus from above; modern (plastico of fourth century CE city)
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: leisure; city of Rome

model of the Theater of Marcellus from ground level; modern (plastico of fourth century CE city)
The view includes the Pons Cestius, Temple of Aesculapius on Tiber Island, and the Pons Fabricius.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: leisure; city of Rome

model of the Porta Capena and Circus Maximus from ground level along the Via Appia; modern (plastico of fourth century CE city)
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: leisure; chariot racing; road; city of Rome

model of slope of the Aventine along the Tiber; modern (plastico of fourth century CE city)
The view shows the course of the Clivus Publicius that climbs to the top of the AVentine hill.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: street; road; city of Rome

model of north central Campus Martius from above; modern (plastico of fourth century CE city)
The view shows the course of the road that crosses the Campus from the Tiber to the Via Flaminia, possibly called the Via Recta.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: street; road; city of Rome

model of Vicus Iugarius; modern (plastico of fourth century CE city)
The view shows the course of the street along the cliff of the Capitoline hill toward the Forum.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: street; road; city of Rome

model of emporium district along the Tiber from ground level; modern (plastico of fourth century CE city)
The image shows the view of visitors arriving in Rome by boat, looking over the port area toward the Aventine hill.
closer view towards Tiber bridges.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: Porticus Aemilia; commerce; shipping; city of Rome

model of emporium district looking south across the Tiber from ground level; modern (plastico of fourth century CE city)
same view with labels.
The view includes the Emporium, Porticus Aemilia, Horrea Galbana, and Mons Testaceus.
detail; Emporium and quay;
detail; Porticus Aemilia.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: port; commerce; shipping; city of Rome

model of the back of the Horrea Galbana from ground level; modern (plastico of fourth century CE city)
smaller version.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: warehouse; granary; commerce; shipping; city of Rome

model of the Forum Boarium, Circus Maximus, Palatine from ground level; modern (plastico of fourth century CE city)
detail; Forum Boarium.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: city of Rome

model of the Saepta Julia from ground level; modern (plastico of fourth century CE city)
side view of model from above.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: voting; city of Rome

model of the Domus Augustana complex from above, facing theForum; modern (plastico of fourth century CE city)
same view with labels.
This shows Domitian's Palace on the Palatine Hill, with the public portion (Domus Flavia) and the private portion (Domus Augustana) with its attached garden popularly called the "Hippodrome."
galleries of the Domus Augustana overlooking the Circus Maximus.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: imperial palace; Domitian; city of Rome

model of the Arx from below, showing the Temple of Juno Moneta; modern (plastico of fourth century CE city)
view of the Arx from above; detail of Auguraculum and Temple of Juno Moneta.
A hut in the primitive Latin style has been added to the Auguraculum, the sacred platform for the taking of auspices.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: Capitoline Hill; augury; city of Rome

fragmentary relief from architectonic frieze; Roman, second century CE
The relief depicts Juno's sacred geese in front of the Temple of Juno Moneta on the Arx. It was found near the Basilica in the Forum in Ostia.
Ostia, Museo Archeologico Ostiense. Credits: Barbara McManus, 2007
Keywords: Capitoline Hill; city of Rome

model of the Mausoleum of Augustus from ground level; modern
Rome, Ara Pacis Museum. Credits: Barbara McManus, 2007
Keywords: imperial tomb; funerary; city of Rome

model of the Horologium of Augustus from ground level; modern
The horologium was a giant sundial using a captured Egyptian obelisk as pointer; this model also shows the relative size and position of the Ara Pacis.
Rome, Ara Pacis Museum. Credits: Barbara McManus, 2007
Keywords: clock; city of Rome

relief from the tomb of the Haterii; Roman, first century CE
This relief presents a sequence of images depicting monuments built or restored in the Flavian period, presumably with the participation of members of the Haterius family, who were building contractors.
Rome, Gregoriano Profano, Vatican Museums. Credits: Barbara McManus, 2007
Keywords: tomb; funerary; city of Rome

relief of Temple of Jupiter Stator; Roman, first century CE
This relief is a detail from the famous funerary monument of the Haterius family in Rome; it is part of a sequence of images depicting monuments built or restored in the Flavian period.
Rome, Gregoriano Profano, Vatican Museums. Credits: Barbara McManus, 2007
Keywords: tomb; religion; tomb of the Haterii; city of Rome

relief of triumphal arch near Temple of Isis; Roman, first century CE
This relief is a detail from the famous funerary monument of the Haterius family in Rome; it is part of a sequence of images depicting monuments built or restored in the Flavian period. This detail depicts an arch probably built to celebrate the double triumph of Vespasian and Titus in 71 CE.
Rome, Gregoriano Profano, Vatican Museums. Credits: Barbara McManus, 2007
Keywords: tomb of the Haterii; city of Rome

relief depicting the Colosseum; Roman, first century CE
This relief is a detail from the famous funerary monument of the Haterius family in Rome; it is part of a sequence of images depicting monuments built or restored in the Flavian period.
Rome, Gregoriano Profano, Vatican Museums. Credits: Barbara McManus, 2007
Keywords: arena; tomb of the Haterii; city of Rome

relief depicting the funeral of a woman; Roman, first century CE
This relief is a detail from the famous funerary monument of the Haterius family in Rome. This closer view shows that the deceased woman is laid out on a lectus surrounded by torches and mourners; notice her veil and rings. Above the bier, two females with unbound hair beat their breasts in grief. On the left side of the bier, two female musicians accompany the dirge, one playing the double flute. Beneath the bier a procession is shown, with two women and two men beating their breasts.
Rome, Gregoriano Profano, Vatican Museums. Credits: Barbara McManus, 2007
Keywords: tomb of the Haterii; funerary; religion; death

long corridor of the Tabularium; Roman, first century BCE
Rome, Capitoline Museums. Credits: Barbara McManus, 2007
Keywords: Republican architecture; city of Rome

view of the Roman Forum from the Tabularium corridor; Roman, first century BCE
Rome, Capitoline Museums. Credits: Barbara McManus, 2007
Keywords: Republican architecture; city of Rome

columns of the Temple of Vespasian; Roman, first century CE
The photo was taken from the corridor of the Tabularium and shows the Corinthian capitals and entablature frieze depicting religious implements.
Rome, Roman Forum. Credits: Barbara McManus, 2007
Keywords: religion; city of Rome

restored fragment of entablature of the Temple of Vespasian; Roman, first century CE
including bull's skulls (boucrania, a priest's cap, a whip, a pitcher, a sacrificial knife, a libation bowl, and an axe.
detail of frieze showing religious implements; detail showing Cupid as the handle of the pitcher.
Rome, Capitoline Museums. Credits: Barbara McManus, 2007
Keywords: religion; sacrifice; city of Rome

relief plaque from the Lacus Curtius; Roman, first century CE copy of Republican original
The relief reflects the story that the Sabine Mettius Curtius rode his horse into a swamp at this spot and escaped the pursuing Romans.
Rome, Capitoline Museums. Credits: Barbara McManus, 2007
Keywords: Roman Forum; city of Rome

bronze proportional compass; Roman
London, British Museum. Credits: Barbara McManus, 2006
Keywords: tools; craft; artisan

bronze nails with magic symbols and inscriptions; Roman, third-fourth century CE
Magical nails were use to "fix" the power of the magic, whether for protection or for curses. this view shows the other side of the top and middle nails, both of which depicted a snake. this detail of the largest nail shows the inscribed writing, an incantation to the goddess Artemis.
London, British Museum. Credits: Barbara McManus, 1999; 2006
Keywords: religion; magic

painted terracotta head of Juno; early Italic (Faliscan), c. 380 BCE
This is a fragment of high-relief pedimental decoration on a temple near Falerii (modern Scasato); the temple may have been dedicated to Minerva, but the pediment depicted the three deities of the Capitoline triad (Jupiter, Juno, and Minerva). Juno is depicted as a fashionable matron, with an elegant hairstyle, necklace, and large earrings; the diadem on her her indicates her divinity.
Rome, Villa Giulia Museum. Credits: Barbara McManus, 2007
Keywords: religion; Latin tribes; Falisci; Hera

fresco of the Greek playwright Menander, first century CE
The painting is on the wall of an exedra located off the peristyle of the house, which has been named after this painting.
Pompeii, House of the Menander. Credits: Barbara McManus, 1979
Keywords: wall painting, domestic

head of a young woman, Roman, first century BCE
side view; view from other side.
This marble portrait, found in the Via del Corso in Rome, depicts a young woman with delicate features; her distinctive nodus hairstyle with side braids resembles that on a coin thought to depict Antony's wife Fulvia.
Copenhagen, Ny Carlsberg Glyptotek. Credits: Barbara McManus, 2008
Keywords: portrait sculpture; girl

altar dedicated to the goddess Diana, Roman, c. 200 CE
This marble altar, which may have been found in the sanctuary of Diana at Nemi, depicts a veiled woman standing before a garlanded altar (see detail and closer view). Two male attendants bring a sacrificial bull to be purified. The back of the altar, sculpted in lower relief, depicts one of Diana's stags that appears to be preparing to place a branch on the altar. One side of the altar also depicts a stag, with a disk on its back that may have been intended to hold a portrait, though none was added.
Copenhagen, Ny Carlsberg Glyptotek. Credits: Barbara McManus, 2008
Keywords: religion; sacrifice; priestess

altar dedicated to Gaius Manlius, Roman, probably Augustan period
detail of sacrificial scene
This marble altar was found in the theater at Caere (modern Cerveteri). The inscription reads "His clients [dedicated this] to Gaius Manlius, son of Gaius, censor for life." A male figure with his toga pulled over his head stands next to a garlanded altar pouring a libation. On the other side of the altar, two kneeling victimarii hold the head of a bull while another prepares to swing the sacrificial axe; behind the bull another victimarius holds the hammer used to stun the bull (malleus) in his right hand and a plate with offerings (molae salsae in his left. In front of him stand a flute player and a boy sacrificial attendant (camillus).
Rome, Gregoriano Profano, Vatican Museums. Credits: Barbara McManus, 2007
Keywords: religion; sacrifice

gold signet ring with female head, probably made in Greece, 350-300 BCE
The female is probably intended to suggest Aphrodite. From tomb 83 at Kourion, Cyprus.
London, British Museum. Credits: Barbara McManus, 2006
Keywords: jewelry; Venus

bronze figurine of a lar, Roman, first century CE
London, British Museum. Credits: Barbara McManus, 2006
Keywords: domestic religion; household deity; lares

bronze figurine of a lar, Roman
Florence, Archaeological Museum. Credits: Barbara McManus, 2004
Keywords: domestic religion; household deity; lares

fragment of the frieze from the Basilica Aemilia/Basilica Paulli; Roman, probably late first century BCE
This elaborate sculptured frieze of Pentelic marble decorated the entablature of the lower storey in the interior of the basilica, containing episodes from the legendary past of Rome; the dating of this frieze is controversial, but technical considerations point to the restoration financed by Julius Caesar 55-34 BCE, though Augustus chose to retain the frieze in his 14 BCE restoration. Depicted on this fragment are the punishment of Tarpeia (shown here with an outline of the missing sections) and a wedding scene possibly that of Romulus and Hersilia (shown here with an outline of the missing sections).
Rome, Palazzo Massimo alle Terme (National Museums). Credits: Barbara McManus, 2007
Keywords: sculpture; Roman legend; Livy

fragment of the frieze from the Basilica Aemilia/Basilica Paulli; Roman, probably late first century BCE
This fragment depicts the building of a city wall under the gaze of a goddess.
Rome, Palazzo Massimo alle Terme (National Museums). Credits: Barbara McManus, 2007
Keywords: sculpture; Roman legend; Livy

model of cult statue of Olympian Zeus, modern
The original statue was designed by the Greek sculptor Pheidias for the great temple of Zeus at Olympia; it was chryselephantine (made of ivory and gold over a wooden frame) and was over 40 feet in height.
London, British Museum. Credits: Barbara McManus, 2008
Keywords: sculpture; Phidias; temple

marble sarcophagus of a child, Roman, second century CE
Found in the Roman cemetery outside the Porta Aurea, Agrigento, this sarcophagus shows exceptionally fine relief sculpture on three sides. The long side shows a scene from the dead boy's schooling on the left and on the right a moving scene of mourning, with the dead child lying on a bier. On either side are seated his father and mother in postures of deep grief, while in the center his aged nurse tenderly caresses the child's face.
Agrigento, Museo Archeologico Regionale. Credits: Barbara McManus, 2008
Keywords: funerary; children

right side of marble sarcophagus of a child, Roman, second century CE
One of the short sides of this sarcophagus shows a scene of the child's first bath after his birth. The same aged nurse shown on the front of the sarcophagus lifts the baby from his bath, while his mother, supported by a female servant, watches.
Agrigento, Museo Archeologico Regionale. Credits: Barbara McManus, 2008
Keywords: funerary; children

left side of marble sarcophagus of a child, Roman, second century CE
The other short side of this sarcophagus shows the boy in a chariot pulled by a ram, attended by male servants.
Agrigento, Museo Archeologico Regionale. Credits: Barbara McManus, 2008
Keywords: funerary; children

marble funerary altar of Aelia Sabina, Roman, Hadrianic period (117-138 CE)
Found in Rome, this altar commemorated the three-year-old child of Publius Aelius Trophimus, freedman of Hadrian, and his wife, Longinia Sabina. The left side has a relief carving of an urceus, a ritual pitcher. The right side has a relief carving of a patera, a shallow libation bowl. Unusually, it also continues the long inscription, which is in the form of a dactylic hexameter poem:
detail, front inscription; smaller version
detail, side inscription; smaller version
Palermo, Museo Archeologico Regionale Antonino Salinas. Credits: Barbara McManus, 2008
Keywords: funerary; children

funerary altar of Tiberius Claudius Corinthus; Roman, second century CE
Found near the Porta Capena in Rome, this freedman's altar, set up by his wife Valeria Donata, shows the traditional relief patera on one side and a relief urceus on the other side.
London, British Museum. Credits: Barbara McManus, 2008
Keywords: tombstone

drawing of writing on a curse tablet; Roman, fourth century CE
The Greek writing on this lead curse tablet pronounces a long curse against the circus factions not favored by the writer. Figures drawn on the tablet include a horse-headed demon and two charioteers with their arms and legs bound. The curse table was found in Rome on the Via Appia.
Rome, Terme Diocleziano, (National Museums). Credits: Barbara McManus, 2007
Keywords: magic, defixio; sports fanaticism; chariot racing

altar with scenes from Rome's foundation; Roman, 124 CE
This beautifully carved altar was found in a small shrine in the corner of the Piazzale delle Corporazioni in Ostia, but it was originally located in a prominent public location in that city, since an inscription at the bottom indicates that it was set up "by decree of the decurions" (City Council). At some point it was intentionally damaged, perhaps by Christians, since the faces on three sides of the altar (except the back) have been chiseled off. The front of the altar, shown here, depicts Mars and Venus being brought together by Cupid, with Hymenaeus (god of marriage) standing by. One side of the altar shows Cupids playing with Mars' chariot and horses, and the other side shows Cupids playing with Mars' armor. The only fairly intact side of the altar, the back, shows the wolf nursing Romulus and Remus, discovered by two shepherds. Around the twins are several small animals, including a mouse, rabbit, and snake. Divine protection is conveyed by the reclining figure of Father Tiber to the right and above, the watchful eagle of Jupiter and the personification of the Palatine Hill, seated on his mountain. The altar was probably dedicated to Mars, though it was later rededicated to Silvanus. The dedicators, as shown in the inscription on the front of the altar, were Publius Aelius Syneros and his sons Aelianus and Trophimus; Syneros proudly proclaims that he is the freedman of Publius Aelius Trophimus, freedman of Hadrian and Procurator of Crete.
Rome, Palazzo Massimo alle Terme (National Museums). Credits: Barbara McManus, 2003
Keywords: relief sculpture; Livy, early Roman legends; mythology

sarcophagus lid with relief panels; Roman, mid second century CE
The panels mingled Underworld deities with portraits of the deceased, evidently a woman, since she is shown in the small left-hand panel modestly wrapped in a palla (mantle). The large central panel depicts Pluto and Proserpina seated together on a unusual double throne, with Cerberus on one side and Cupid on the other as a serving boy; their hands are outstretched in a welcoming gesture (detail: Pluto and Cerberus). The small panel to the right of this depicts Mercury, holding a caduceus and looking back toward the woman he will lead to the Underworld. The large panel on the left, in pedimental form, contains the three Fates (Parcae), with a kneeling man on either side beseeching mercy. This closer view shows the attributes of the three goddesses: Clotho, on the left, holds a distaff and spindle with which she spins the thread of life; Lachesis, in the center, holds a scale for weighing the thread of life and the cornucopia of Fortuna/Tyche; Atropos, on the right, holds an open scroll, probably symbolizing "the book of fate" (detail: trutina, small balance scale). The other pedimental panel, on the right, depicts the deceased woman sitting on a lectus with her husband, with their pet dog looking up at them. The harmony of their marriage is vividly depicted by her arm lying affectionately on his shoulder, while he offers her a fruit, probably a pomegranate. The presence of the dog and pomegranate visually link this earthly couple to the "married" rulers of the Underworld.
Rome, Palazzo Nuovo (Capitoline Museums). Credits: Barbara McManus, 2003, 2007
Keywords: funerary sculpture; Hades; Persephone; Moirai

marble statue of Fortuna; Roman, c. 150-200 CE
The goddess holds her traditional attributes, a cornucopia and a rudder, which here rests on a wheel, the ever-spinning wheel of fortune.
London, British Museum. Credits: Barbara McManus, 2001
Keywords: sculpture; Tyche

relief of Fortuna on marble altar; Roman
From the Horti Lamiani in Rome; the goddess, seated on a throne, holds her traditional attributes, a cornucopia and a rudder.
Rome, Palazzo dei Conservatori (Capitoline Museums). Credits: Barbara McManus, 2007
Keywords: sculpture; Tyche

black_glazed patera with scenes from the Odyssey; Roman, c. 250-180 BCE
From Tarquinia, Etruria. This ritual libation bowl illustrates two scenes from Homer's epic: Odysseus tied to the mast listening to the Sirens and Odysseus arming in a futile effort to fight Scylla.
London, British Museum. Credits: Barbara McManus, 2006
Keywords: phiale; Ulysses

bronze figurine of a priestess; Etrusco-Latin, c. 200-100 BCE;
smaller version.
Found near the Sanctuary of Diana at Nemi. The priestess wears an elaborate headdress and is pouring a libation from a patera.
London, British Museum. Credits: Barbara McManus, 2006
Keywords: religion; sacrifice; phiale

marble statue of a priestess of Isis, Roman, from Taormina, Sicily, second century CE;
smaller version; head and upper torso; side view.
This young priestess wears her hair braided and coiled into a chignon at the nape of her neck. In her left hand she carries a ritual bucket (situla); she probably held the sacred rattle of Isis (sistrum) in her upraised right hand. Her garment is tied in front with the knot of Isis, and she wears a fringed mantle on her shoulders.
Palermo, Museo Archeologico Regionale Antonino Salinas. Credits: Barbara McManus, 2008
Keywords: religion

marble bust of Matidia; Roman, c. 112 CE
side view showing elaborate hairstyle.
Matidia was the daughter of Trajan's sister, Marciana, and the mother of Sabina, wife of Hadrian.
Paris, Louvre Museum. Credits: Barbara McManus, 1999
Keywords: imperial family; Augusta

terracotta relief showing body carried to funeral pyre; Roman, third century CE;
smaller version; detail, men carrying corpse.
On this sarcophagus lid two men carry a corpse toward a funeral pyre while women mourn and tear their hair. On the far right a young male (perhaps Mercury?) holds a leashed Cerberus, the hound of Hades.
Rome, Palazzo Nuovo (Capitoline Museums). Credits: Barbara McManus, 2010
Keywords: funerary; cremation; burial rites

mosaic of a boat unloading merchandise, from Sousse, third century CE
On a commercial boat, the boatman is shown unloading planks of wood to two workmen on the right. On the left, two officials weigh the planks on a large scale. The official on the right monitors the lead weight; he wears an equestrian tunic.
Tunis, Bardo Museum. Credits: Barbara McManus, 2010
Keywords: commerce; shipping; business; trading

Go to Index, Part I, Part II, Part III, Part IV, Part V, Part VI, Part VII, Part VIII, Part IX, Part X, Part XII, Part XIII, Part XIV, Part XV, Roman Coins: Republic and Principate, Roman Coins: Empire, Greek Coins Coins from the Museum of Cultural History, University of Oslo, Coins from the National Museum in Warsaw, Poland, Coins from the Hunterian Museum