Go to Index, Part I, Part II, Part III, Part IV, Part V, Part VI, Part VII, Part VIII, Part IX, Part X, Part XI, Part XII, 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
model of sanctuary at Olympia in Roman period, modern
another view
The high, curved white structure with statues in niches is the
nymphaeum of Regilla,
frequently termed "the nymphaeum of Herodes Atticus."
Amsterdam, Allard Pierson Museum. Credits: Barbara McManus, 2003
Keywords: women donors; imperial family; honorific statues; religion
reconstruction drawing of the nymphaeum of Regilla at Olympia, modern
This monumental fountain is often called "the nymphaeum of Herodes Atticus" by modern scholars, but the
dedicatory inscription names only Regilla, wife of Herodes.
Olympia, Greece: Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: women donors; imperial family; honorific statues
inscribed statue of a bull from the nymphaeum of Regilla at Olympia, c. 153 CE
This bull stood in the center of the nymphaeum; the Greek inscription reads, "Regilla, priestess of Demeter,
dedicated the water and the things around the water to Zeus." Despite the inscription, this monumental
fountain is often called "the nymphaeum of Herodes Atticus" by modern scholars. Regilla, the wife of Herodes,
was priestess of Demeter Chamyne at Olympia in 153 CE; this priestess was the only woman officially allowed
to view the games.
Olympia, Greece: Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: women donors; imperial family; honorific statues
statue of Annia Faustina, from the nymphaeum of Regilla at Olympia, c. 153 CE
side view.
Annia Faustina was the oldest daughter of Marcus Aurelius and Faustina the Younger; although about 7 at the
time this statue was made, she is depicted as a young adolescent. This monumental fountain is often called
"the nymphaeum of Herodes Atticus" by modern scholars, but the dedicatory inscription names only Regilla, wife of Herodes.
Olympia, Greece: Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: women donors; imperial family; honorific statues
head of M. Appius Bradua, from a statue in the nymphaeum of Regilla at Olympia, c. 153 CE
Bradua was a Roman senator who was the maternal grandfather of Regilla. This monumental fountain is often
called "the nymphaeum of Herodes Atticus" by modern scholars, but the dedicatory inscription names only Regilla, wife of Herodes.
Olympia, Greece: Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: women donors; imperial family; honorific statues
statue of Athenais, from the nymphaeum of Regilla at Olympia, c. 153 CE
side view.
Athenais was the second daughter of Regilla and Herodes Atticus; although about 10 at the
time this statue was made, she is depicted as an adolescent. This monumental fountain is often
called "the nymphaeum of Herodes Atticus" by modern scholars, but the dedicatory inscription names only Regilla, wife of Herodes.
Olympia, Greece: Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: women donors; imperial family; honorific statues
statue of Faustina the Elder, from the nymphaeum of Regilla at Olympia, c. 153 CE
Faustina was the wife of the reigning emperor at the time, Antoninus Pius, and a relative of Regilla. This monumental fountain is often called "the nymphaeum of Herodes Atticus" by modern scholars, but the dedicatory
inscription names only Regilla, wife of Herodes.
Olympia, Greece: Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: women donors; imperial family; honorific statues
statue of Hadrian, from the nymphaeum of Regilla at Olympia, c. 153 CE
Hadrian was the previous emperor and adoptive father of the reigning emperor at the time, Antoninus Pius. The cuirass of this statue
is beautifully detailed, depicting Athena wearing the aegis and being crowned by two Nikes. Beside her are
two of her symbols, the owl and the snake. She stands on a representation of the wolf suckling Romulus and
Remus. The imagery thus echoes Hadrian's interest in combining Greek culture with Roman.
Olympia, Greece: Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: women donors; imperial family; honorific statues
head of a youthful member of the imperial family, from a statue in the nymphaeum of Regilla at Olympia, c. 153 CE
The museum label identifies this as the head of Lucius Verus, who had been adopted by Antoninus Pius along
with Marcus Aurelius. However, the head seems too young for Verus, who was a grown man at this time. This
monumental fountain is often called "the nymphaeum of Herodes Atticus" by modern scholars, but the dedicatory
inscription names only Regilla, wife of Herodes.
Olympia, Greece: Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: women donors; imperial family; honorific statues
statue of Marcus Aurelius (head missing), from the nymphaeum of Regilla at Olympia, c. 153 CE
Marcus Aurelius was the adopted son and heir apparent of the reigning emperor at the time, Antoninus Pius,
married to his daughter Faustina the Younger. This monumental fountain is often called "the nymphaeum of
Herodes Atticus" by modern scholars, but the dedicatory inscription names only Regilla, wife of Herodes.
Olympia, Greece: Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: women donors; imperial family; honorific statues
statue of Regilla (head missing), from the nymphaeum of Regilla at Olympia, c. 153 CE
smaller version
Regilla was the priestess of Demeter Chamyne at Olympia, wife of Herodes Atticus, and dedicator of this
monumental fountain, though it is often called "the nymphaeum of Herodes Atticus" by modern scholars.
Olympia, Greece: Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: women donors; imperial family; honorific statues
statue of man wearing a toga (head missing), from the nymphaeum of Regilla at Olympia, c. 153 CE
This is usually identified as a statue of Appius Annius Gallus, a distinguished Roman senator related to
Faustina the Elder, and father of Regilla. This monumental fountain is often called "the nymphaeum of Herodes
Atticus" by modern scholars, but the dedicatory inscription names only Regilla, wife of Herodes.
Olympia, Greece: Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: women donors; imperial family; honorific statues
inscribed terracotta tile from the Room C of the Villa Capo di Bove, Via Appia, Rome, after 160 CE
The Greek inscription reads "Regilla, the light of the house," and was found in the villa owned by Regilla and inherited by Herodes Atticus after the murder of his wife Regilla in 160 CE. Herodes put inscriptions
such as this in many places in an attempt to dispel rumors that he had ordered her murder by ostentatiously
flaunting his grief.
Rome, Olearie Papali alle Terme di Diocleziano. Credits: Barbara McManus, 2007
statue of Plancia Magna from Perge, first half of second century CE
statue without inscribed base;
side view;
smaller version.
Plancia Magna was a member of the Plancii family, Roman citizens who had emigrated from Italy in the late
Republic and had become a wealthy senatorial family in Perge. This statue was donated by one of her freedmen, and it stood outside the city gate that she had renovated. The Greek
inscription on the statue
base gives her many titles, including "daughter of the city," priestess of the chief deity, Artemis
Pergaia, and priestess of the imperial cult (note her
diadem with small busts of
emperors). Plancia was a major donor of magnificent structures to her city, including the renovated city
gate, and elaborate two-storey niched oval courtyard with many statues, and a monumental arch with statues of
the Hadrianic imperial family.
Antalya, Turkey, Antalya Museum. Credits: Barbara McManus, 2007
Keywords: women donors; imperial family; honorific statues
statue of the empress Vibia Sabina from Perge, first half of second century CE
smaller version.
Sabina was the daughter of the emperor Trajan's niece Matidia and wife of his adopted son and heir Hadrian.
This statue was placed by Plancia Magna in the monumental arch she dedicated to her city of Perge, and its pose and costume parallel that of statues of Plancia Magna herself.
Antalya, Turkey, Antalya Museum. Credits: Barbara McManus, 2007
Keywords: women donors; imperial family; honorific statues
statue of the empress Julia Domna from Perge,
Julia Domna was the wife of the emperor Septimius Severus; this statue was placed by Aurelia Paulina in the monumental fountain (nymphaeum) she dedicated to Artemis Pergaia and the Severan imperial family. Paulina herself was originally from Syria, as was Julia Domna, who is shown with her right hand raised in the praying gesture.
Antalya, Turkey, Antalya Museum. Credits: Barbara McManus, 2007
Keywords: women donors; imperial family; honorific statues
statue of Julia Soaemias from Perge, Severan period (193-211 CE)
Julia Soaemias was the niece of empress Julia Domna; the statue might also represent Domna's sister, Julia Maesa. The statue was placed by Aurelia Paulina in the monumental fountain (nymphaeum) she dedicated to Artemis Pergaia and the Severan imperial family. Paulina herself was originally from Syria, as were Julia Soaemias and Julia Maesa.
Antalya, Turkey, Antalya Museum. Credits: Barbara McManus, 2007
Keywords: women donors; imperial family; honorific statues
statue of Septimius Severus from Perge, Severan period (193-211 CE)
The statue was placed by Aurelia Paulina in the monumental fountain (nymphaeum) she dedicated to Artemis Pergaia and the Severan imperial family; Septimius Severus was the reigning emperor at the time.
Antalya, Turkey, Antalya Museum. Credits: Barbara McManus, 2007
Keywords: women donors; imperial family; honorific statues
statue of the goddess Artemis from Perge, Severan period (193-211 CE)
smaller version.
The statue was found in the ancient well beneath the monumental fountain (nymphaeum) dedicated by Aurelia Paulina to Artemis Pergaia and the Severan imperial family; the statue may have been placed in the central niche between the pediment of the fountain. Artemis is depicted wearing a peplos and quiver; she carries part of a bow in her left hand and part of an arrow in her right.
Perge, Turkey. Credits: Barbara McManus, 2007
Keywords: women donors; imperial family; honorific statues; Diana
frieze from the stage building (scaenae frons) of the theater in Perge, Roman period, second century CE
In the central panel the goddess
Tyche is seated next to an altar with a flame. On both sides men wearing priestly crowns are bringing cattle
to be sacrificed to Artemis Pergaia, chief deity of the city.
Tyche is shown wearing a mural
crown representing the walls of the city; she holds a cornucopia in her left hand and in her right the
cult statue (a roughly triangular shaped relief plaque called a baitylos) of Artemis Pergaia.
Antalya, Turkey, Antalya Museum. Credits: Barbara McManus, 2007
Keywords: Diana Pergensis; religion; sacrifice
architectural relief representing Artemis Pergaia from the theater in Perge, Roman period, second century CE
This relief depicts the archaic cult statue (baitylos) of Artemis Pergaia, the chief deity of the city. At the top appears the head of the goddess wearing a high polos headdress above the symbol of the cresent moon; the three relief panels beneath her show women engaged in rituals associated with her worship.
Antalya, Turkey, Antalya Museum. Credits: Barbara McManus, 2007
Keywords: Diana Pergensis; religion
view of the Hellentisic city gate through fourth-century CE gate, Perge, Turkey
The outer gate, reconstructed in the modern period, was part of the walls erected around Perge in the fourth-century CE. The
round towers of the
earlier gate were originally
constructed in the Hellenistic era but were completely renovated by Plancia Magna in 120-122 CE.
Perge, Turkey. Credits: Barbara McManus, 2007
Keywords: women donors; eastern provinces
western wall of oval courtyard beyond round towers, Perge, Turkey, 120-122 CE
eastern wall of oval courtyard
Inside the renovated towers of the city gate, Plancia Magna fashioned an oval courtyard by erecting
two-storey curved walls containing
niches for statues, faced with
two levels of Corinthian columns in a design reminiscent of the scaenae frons of the stage buildings in Roman theaters.
Perge, Turkey. Credits: Barbara McManus, 2007
Keywords: women donors; eastern provinces
piers for a triple monumental arch at the end of the oval courtyard, Perge, Turkey, 120-122 CE
another view.
Plancia Magna completed her city gate complex with a magnificent triple arch containing many statues of the Hadrianic imperial family and leading directly into the city.
Perge, Turkey. Credits: Barbara McManus, 2007
Keywords: women donors; eastern provinces
colonnaded porch (propylon) leading into southern baths, Perge, Turkey, second century CE
The entrance to the baths was located to the south of the gate with round towers.
Perge, Turkey. Credits: Barbara McManus, 2007
Keywords: eastern provinces
reconstruction drawing of southern nymphaeum, Perge, Turkey, early Severan period
view of current remains.
This monumental fountain was erected by Aurelia Paulina, a priestess of Artemis Pergaia of Syrian birth who dedicated the nymphaeum to Artemis Pergaia and the Severan imperial family.
Antalya, Turkey, Antalya Museum; Perge, Turkey. Credits: Barbara McManus, 2007
Keywords: women donors; eastern provinces
half-lifesized statue of Demeter, from Athens, Roman period, second century CE
smaller version.
The goddess wears a peplos and a veil on her head; she holds a torch.
London, British Museum. Credits: Barbara McManus, 2008
Keywords: religion; Ceres
funerary relief of a silversmith, Roman, from Italy, 1-25 CE
detail: portrait of Agatus.
The inscription reads P[ublius] CVRTILIVS P[ublii] L[ibertus] AGAT[us] FABER ARGENTARIVS ("Publius Agatus Curtilius, freedman of Publius, Silversmith"). The craftsman is shown in the process of making a silver cup with a relief decoration.
Malibu, Getty Villa. Credits: Barbara McManus, 2006
Keywords: artisan; shopkeeper
wall painting with Bacchus and Ariadne, Roman, 1-75 CE
detail: heads of Bacchus and Ariadne.
The divine couple are shown dancing, wearing floral wreaths on their heads; Ariadne holds a drinking horn in her raised right hand and Bacchus holds a cup.
Malibu, Getty Villa. Credits: Barbara McManus, 2007
Keywords: Dionysus; revels; wine
wall painting with maenad and peacock, Roman, 1-75 CE
detail: maenad.
Found with the wall painting above, this fragment depicts a standing maenad wearing a floral wreath and holding a silver dish; the panel below her depicts a peacock, grapes and pomegranates, symbols of fertility and rebirth.
Malibu, Getty Villa. Credits: Barbara McManus, 2007
Keywords: Dionysus; revels; wine
gold ring engraved with Muse, Greek, 325-300 BCE
On the ring a Muse (or possibly an actor) stands with arms outstretched contemplating a theatrical mask.
Malibu, Getty Villa. Credits: Barbara McManus, 2009
Keywords: theater; drama; jewelry
gilt silver statuette of a satyr, Roman, 150-200 CE
This tiny statuette, fashioned with exquisite detail, depicts a satyr playing a double flute (aulos); he wears only a panther skin draped across his body, and the flute has one straight and one curved end.
Malibu, Getty Villa. Credits: Barbara McManus, 2007
Keywords: Dionysus; music
terracotta statuette of a mime, Greek, from Myrina, c. 100 BCE
With a gesture and a scowl, this comedic actor demonstrates his art; the lack of a mask indicates that he is a mime, and his short costume and hairstyle suggest that he is portraying the huntress goddess Artemis.
Malibu, Getty Villa. Credits: Barbara McManus, 2009
Keywords: theater
silver and gold plate engraved with fisherman, late antique, eastern Mediterranean, 500-600 CE
Seated on a rock, an old fisherman takes a fish off his hook; the sea at his feet is full of fish, and two woven baskets are stuffed with his catch.
Malibu, Getty Villa. Credits: Barbara McManus, 2009
Keywords: marine
small marble statue of Nemesis, Roman, c. 150 CE
detail: head with characteristic hairstyle of Faustina the Elder.
Winged Nemesis, goddess of retribution, stands with her right foot on the head of a fallen victim; her left hand holds the wheel of fortune on top of a globe and small altar. Unusually, the goddess is portrayed with the facial features and hairstyle of Faustina the Elder, beloved wife of the emperor Antoninus Pius, who died about 141 CE.
Malibu, Getty Villa. Credits: Barbara McManus, 2009
Keywords: imperial cult
detail of sarcophagus depicting Gaudenia Nicene, Roman, 180 CE
another view.
The Roman freedman and wool merchant Titus Aelius Evangelus commissioned an elaborate sarcophagus for himself and his wife, Gaudenia Nicene. This detail shows Gaudenia dressed in the short, belted tunic and boots of a working woman, holding out a wine cup and garland to her husband.
Malibu, Getty Villa. Credits: Barbara McManus, 2007, 2009
Keywords: funerary
necklace in gold and garnet , Greek, Hellenistic, from Tarentum, c 220 BCE
detail: Herakles knot decoration.
Berlin, Altes Museum. Credits: Barbara McManus, 2005
Keywords: jewelry
small amber box with lid and feet; Roman, second century CE
Rome, Palazzo Massimo alle Terme (National Museums). Credits: Barbara McManus, 2003
statue of Isis in white and black marble, Roman, from Naples, first half of second century CE
detail: side view of head.
The goddess wears a uraeus headdress and a fringed shawl tied in a knot in front; she holds a sistrum (now broken off) and jug for holding Nile water.
Vienna, Kunsthistorisches Museum. Credits: Barbara McManus, 2006
Keywords: religion
frogment from headdress of a statue, Roman, third-fourth century CE;
smaller version.
Ths fragment shows the crown worn by priests of the imperial cult, adorned with the busts of emperors.
Vienna, Kunsthistorisches Museum. Credits: Barbara McManus, 2006
Keywords: religion; priesthoon
terracotta plaque showing an accident in the Circus Maximus, Roman, mid-first century CE
detail: fallen charioteer.
The chariot has bumped the turning post (meta); two of the horses have fallen, another is running in the opposite direction, while a man on the ground attempts to control the fourth, which is rearing. The charioteer has fallen out of the chariot on his back. Another man on the ground expresses his anguish by putting his hand over his face.
Vienna, Kunsthistorisches Museum. Credits: Barbara McManus, 2006
Keywords: racing; sport
sarcophagus of the owner of a racing stable, Roman, c. 160 CE
The deceased owner, probably the third man holding a horse since this is the only figure wearing a toga, has emphasized the wealth brought by his stable through the many bulging moneybags depicted on the relief.
Vienna, Kunsthistorisches Museum. Credits: Barbara McManus, 2006
Keywords: chariot racing; sport
statue of Fundilia, Roman, from the Sanctuary of Diana at Nemi, first century CE
detail: side view of head and upper torso.
The statue is identified by an inscription naming her as the daughter of Gaius Fundilius and patron of the
freedman mime actor Fundilius Doctus, whose own statue was found in the same location (see below). Fundilia
was a wealthy woman who apparently maintained a troupe of mimes, but the statue's pose, severe expression,
and old-fashioned hairstyle seem designed to emphasize her respectability.
Copenhagen, Ny Carlsberg Glyptotek. Credits: Barbara McManus, 2008
Keywords: patronage; women patrons
statue of Fundilius Doctus, Roman, from the Sanctuary of Diana at Nemi, first century CE
detail: head.
The statue is identified by an inscription on the base and also on the
capsa at his feet as "Gaius
Fundilius Doctus, Parasite of Apollo," indicating that he was a mime actor, member of the long-established
guild of mimes at Rome called the Parasiti Apollinis. He was the freedman of Fundilia, for whom he
set up a companion statue in the same location (see above). He appears in an elegantly draped toga and had been holding a scroll in his right hand (now broken off); the ribbon that had tied the scroll lies between his feet.
Copenhagen, Ny Carlsberg Glyptotek. Credits: Barbara McManus, 2008
Keywords: theater; women patrons
portrait bust and herm of a freedwoman, Roman, from the Sanctuary of Diana at Nemi, first century CE
detail: bust.
The bust has been placed in a herm identifying the portrait as Staia Quinta, freedwoman of Lucius, although it
cannot be proven definitively that the two match. Her hair is parted in the middle with elaborate curls on
both sides. Since the bust was found in the vicinity of inscriptions naming mime actors, it is possible that she was an actress.
Copenhagen, Ny Carlsberg Glyptotek. Credits: Barbara McManus, 2008
portrait bust of a young woman, Roman, from the Sanctuary of Diana at Nemi, first century CE
side view.
The bust was originally placed in a herm that is now lost. Her hairstyle resembles that of Staia Quinta, though less elaborate, and the bust is made from the same type of marble, perhaps the same block, so she may also be a freedwoman performer.
Copenhagen, Ny Carlsberg Glyptotek. Credits: Barbara McManus, 2008
portrait bust and herm of a freedwoman, Roman, from the Sanctuary of Diana at Nemi, first century CE
detail: bust.
The bust has been placed in a herm identifying the portrait as Licinia Chrysarion, whose name indicates her freedwoman status, although it cannot be proven definitively that the two match. The inscription reads LICINIAE CHRYSARIONI M[arcus] BOLANVS CANVSAEVS H[onoris?] C[ausa?] D[ianae] N[emorensi] S[acrum].
Copenhagen, Ny Carlsberg Glyptotek. Credits: Barbara McManus, 2008
portrait bust of a middle-aged male wearing a wreath, Roman, from the Sanctuary of Diana at Nemi, first century CE
The bust was originally placed in a herm that is now lost. The wreath on his head suggests that he was a victor in some sort of artistic contest, so he may also have been a mime actor.
Copenhagen, Ny Carlsberg Glyptotek. Credits: Barbara McManus, 2008
model of a Roman legionary soldier; modern
The soldier wears replica armor: a legionary helmet (galea)--a round cap with a ring on top (for
fastening a plume when on parade), hinged cheekpieces, a neck protector in back, and no visor; and a corselet
(today called lorica segmentata though this may not have been the ancient name)--curved strips of
metal fastened together with leather thongs.
Caerleon, Wales, Museum of the Roman Legion. Credits: Barbara McManus, 2010
Keywords: military; army; weapons
model of a Roman legionary soldier; modern
The soldier wears replica armor and carries a large cylindrical shield (scutum) and a javelin (pilum) with a sharp, tempered metal point attached to an untempered metal shaft that would bend on impact; the javelin was weighted with a heavy metal ball at the top of the wooden shaft.
Glasgow, Scotland, Hunterian Museum. Credits: Barbara McManus, 2004
Keywords: military; army; weapons
bronze statuette of a mouse; Roman, first-third century CE
The mouse sits on his hind feet and nibbles on bread held in his front paws; it was found in the Roman fort at Loughor, Swansea.
Cardiff, Wales, National Museum. Credits: Barbara McManus, 2010
Keywords: animals
glass vase in the form of a mouse; found in Cyzique, Turkey, end third-beginning fourth century CE
Paris, Louvre Museum. Credits: Barbara McManus, 1999
Keywords: animals
bronze statuette of a bull; from Syria, first-second century CE
The bull, which has silver eyes, represents the Egyptian bull-god Apis and probably had a crescent moon inserted on his head.
Paris, Louvre Museum. Credits: Barbara McManus, 2009
Keywords: animals; religion
balance scale with weights; Roman, from Herculaneum, first century CE
The hanger hook is modern.
Paris, Louvre Museum. Credits: Barbara McManus, 1999
Keywords: scales, commerce, economy
pair of long greaves worn by gladiators; Roman, from Pompeii, first century CE
This pair of bronze greaves (ocreae) extends well above the knees. Over each knee is a head of Medusa, and bronze rings enable the greaves to be strapped on the legs with leather thongs. Such long greaves were worn by the two types of gladiators who carried small shields--the Thraex (Thracian) and the hoplomachus.
Paris, Louvre Museum. Credits: Barbara McManus, 2009
Keywords: sport, combat, weapons
detail of a funerary stele for a gladiator; Roman, from Akhisar, Turkey, third century CE
The armor and weapons of this well-protected gladiator identify him as a Thraex (Thracian): long greaves on both legs, a helmet with crest, short curved sword, and small rectangular shield.
Paris, Louvre Museum. Credits: Barbara McManus, 2009
Keywords: sport, combat, weapons
large silver platter with low-relief marine decoration; Roman, from Graincourt-lès-Havrincourt, third century CE
detail: central medallion;
detail: rim
The decorative motif is fish and seafood, shown in abundant and exquisite detail.
Paris, Louvre Museum. Credits: Barbara McManus, 2009
Keywords: luxury silver; dish; silversmith
small silver bowl with projecting male portrait; Roman, from Boscoreale, first century CE
detail: portrait head.
The highly individualized portrait in the center of this small bowl or patera may depict the owner of the villa where this treasure of more than 100 silver objects was found.
Paris, Louvre Museum. Credits: Barbara McManus, 2009
Keywords: luxury silver; dish; silversmith
silver cup depicting a triumphal parade of Tiberius; Roman, from Boscoreale, first century CE
detail: triumphal chariot of Tiberius.
This cup with highly detailed repoussé decoration is part of the silver treasure of Boscoreale; the historical/political theme, repeated on a matching cup showing Augustus receiving tribute from conquered provinces, is rather unusual. The first image shows the white bull being led to sacrifice; its headdress with eagle and wool fillets is clearly shown. The second image depicts Tiberius standing in his triumphal chariot, engraved with a Victory holding a trophy; he holds a palm branch and a scepter topped with an eagle. Behind him stands a slave holding a laurel-leaf crown over his head.
Paris, Louvre Museum. Credits: Barbara McManus, 2009
Keywords: luxury silver; silversmith
large silver bowl with low-relief medallion depicting Mercury; Roman, from Berthouville, end second century CE
detail: central medallion with Mercury.
The god Mercury is standing in the center holding a moneybag and the caduceus; around him are symbolic animals--a cock, a turtle, and a goat. Around the medallion is an inscription in gold letters indicating that the bowl was dedicated to Mercury by Julia Sibylla. It is part of a large hoard of silver objects connected with a temple to Mercury in northern Gaul (modern Berthouville in Normandy).
Paris, Cabinet des Médailles, Bibliothèque Nationale. Credits: Barbara McManus, 2009
Keywords: luxury silver; dish; silversmith; religion
silver wine cup with centaurs and Dionysiac symbols; Roman, from Berthouville, mid-first century CE
detail: table with wine vessels.
This is one of several similarly decorated cups from the Berthouville Treasure. An ecstatic female centaur holds a wineskin and plate of fruit; behind her a Cupid holding grapes dances. On a table stand beautifully detailed wine vessels, including a drinking horn with panther head; below are a maenad with thyrsus and two satyrs.
Paris, Cabinet des Médailles, Bibliothèque Nationale. Credits: Barbara McManus, 2009
Keywords: luxury silver; silversmith; Bacchic revels
small silver bowl with high relief emblem of Hercules with snakes, Roman, first century CE
detail: Hercules strangling snakes.
The rim of the bowl has incised decoration; the central emblem, which may have been added after the bowl was
originally made, shows a smiling infant Hercules, complete with tiny teeth, easily strangling the snakes sent
by Juno to kill him in his cradle.
Berlin, Altes Museum. Credits: Barbara McManus, 2005
Keywords: luxury silver; silversmith
silver libation bowl with low-relief of chariots, Greek, from Northern Apulia, 300-200 BCE
detail: Nike drives chariot bearing Athena.
This libation bowl (phiale) has a round boss in the center surrounded by beautiful repoussé decoration of lotus and acanthus and chariots driven by winged Victories; each of the four-horsed chariots has a divine passenger--Herakles, Athena, Hermes, Dionysus, and Ares.
London, British Museum. Credits: Barbara McManus, 2006
Keywords: luxury silver; silversmith
silver ladle with religious scenes, Roman, from Chatuzange, second-third century CE
detail: reliefs on handle;
detail: goddess with sistrum and cornucopia;
detail: woman lights torch before altar
(larger version).
This ladle depicts the goddess Isis, as shown by the sistrum she holds in her left hand; she holds in her right arm a cornucopia, suggesting also attributes of the goddess Fortuna. Below is a shrine or tomb and an altar tended by a priestess or woman worshipper.
London, British Museum. Credits: Barbara McManus, 2008
Keywords: luxury silver; silversmith; religion
jasper magical gem engraved with the anguipede, Roman, third-fourth century CE
The anguipede, a creature carrying a whip with a rooster's head and two snakes for legs, is one of the most popular images on magical gems from Greco-Roman antiquity. This one holds a shield with the Greek letters IAO, which is an abbreviated form of the tetragrammaton, the four-letter name of the Jewish Jahweh, indicating that the anguipede is a syncretic figure blending several religious traditions (particularly solar imagery) for magical power.
London, British Museum. Credits: Barbara McManus, 2010
Keywords: superstition; magic
gold-glass medallion base of a wedding gift, Roman, fourth century CE
detail: Hercules figure between heads of couple.
Normally by this period such wedding gifts would employ Christian symbolism and have the phrase "in the name of Christ," while this one shows a small figure of Hercules, clutching his club and lion skin, beaming at the married couple; along the left rim of the medallion is written IN NOMINE HERCVLIS.
London, British Museum. Credits: Barbara McManus, 2010
Keywords: marriage; pagan symbolism
gold wedding ring, Roman, fourth-fifth century CE
On the bezel of the ring are low-relief portraits of the bride and groom, while incised male and female heads appear on the band.
London, British Museum. Credits: Barbara McManus, 2010
Keywords: marriage; pagan symbolism
wreath of "immortelles" flowers, Roman, woven in Egypt, found in a tomb at Hawara, second-third century CE
This type of "everlasting" flower is common in Italy and Greece; this ancient wreath shows how floral wreaths and garlands, normally woven of much more perishable materials, were made.
London, British Museum. Credits: Barbara McManus, 2006
gilded silver statuettes of Isis and Serapis, Roman, first century CE
These tiny statuettes contain much religious symbolism. Isis wears the headress with solar disk and cow horns associated with Hathor, and she carries the attributes of the goddess Tyche/Fortuna--rudder and cornucopia. Serapis wears a grain measure (modius) on his head and also holds a cornucopia.
London, British Museum. Credits: Barbara McManus, 2006
Keywords: religion, Egypt
terracotta lamp with Isis, Harpocrates, and Anubis, Roman, said to be from Pozzuoli, 50-100 CE
Isis stands in the center holding a sistrum in her left hand while her right reaches out to her divine child Harpocrates (Horus in Egyptian mythology); on her left stands the jackal-headed god Anubis, associated with mummification and the afterlife.
London, British Museum. Credits: Barbara McManus, 2008
Keywords: religion, Egypt
terracotta lamp with Serapis, Roman, made in Ephesus, 100-150 CE
The bust of the bearded Serapis is flanked by a crescent moon and a star; on his head he wears a grain measure (modius).
London, British Museum. Credits: Barbara McManus, 2006
Keywords: religion, Egypt
marble funerary altar for Annia Isias, Roman, second century CE
side view with griffin
Annia Isias was a freedwoman whose son, Sergius Asinius Phainus, born a slave and freed by a different family, set up this elaborately carved altar for his mother, as indicated by the
inscription, which is framed by a grapevine.
Below stands a female animal, perhaps a panther, with a goat-headed drinking horn--Dionysiac imagery symbolizing fertility and
rebirth. A griffin sits on each side of the altar.
London, British Museum. Credits: Barbara McManus, 2008
Keywords: tombstone
red-figured terracotta fish plate, Greek, made in Campania, southern Italy, 350-300 BCE
plate with labels identifying fish.
London, British Museum. Credits: Barbara McManus, 2006
Keywords: domestic pottery; marine
bone figurine of a pantomime actor, Roman, third-fourth century CE
He holds his mask on his shoulder; the closed mouth of the mask indicates that he was a pantomime actor.
London, British Museum. Credits: Barbara McManus, 2006
Keywords: theater; dance
terracotta figurine of gladiatorial combat, Roman, first-second century CE
The gladiator on the left is a hoplomachus, as shown by his small round shield, visored helmet with crest, and dagger (he has apparently lost his spear); the gladiator on the right is a Thracian, as shown by his small rectangular shield, visored helmet with crest, and short sword (whose curved blade cannot be seen as he is attempting to reach over his opponent's shield to stab him).
London, British Museum. Credits: Barbara McManus, 2006
Keywords: sport
terracotta lamp showing gladiatorial combat, Roman, made in Turkey, first half of the second century CE
The gladiator on the left is a Thracian, as shown by his small rectangular shield, visored helmet with crest, long greaves, and short curved sword; the gladiator on the right is a hoplomachus, as shown by his small round shield, visored helmet with crest, long greaves, and spear.
London, British Museum. Credits: Barbara McManus, 2006
Keywords: sport
tiny ivory figurine of a gladiator, Roman, first century CE
The large rectangular shield, short greaves, and visored helmet with crest identify this gladiator as a murmillo; his
name, PARDVS, is inscribed on his shield.
Barcelona, Archaeological Museum. Credits: Barbara McManus, 2006
Keywords: sport
fragment of a marine mosaic, Roman, from Empuries (modern Spain), first century BCE
A bird stands on a rock with a shrimp that it has just caught in its beak; below can be seen a large crab and an eel.
Barcelona, Archaeological Museum. Credits: Barbara McManus, 2006
Keywords: fish, seafood
large marine mosaic, Roman, first century CE
Many different fish and sea creatures are depicted, including a stingray, eel, squid, squirrel fish, any many others, around an octopus that grasps a lobster in its tentacles.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2003
Keywords: fish, seafood
fragment of a marine mosaic, from a Roman bath, late second-early first century BCE
The fragment includes a mussel, squid, shrimp, and a large fish.
another fragment, including red mullet and a mussel.
another fragment, depicting a barracuda.
Rome, Museo Montemartini (Capitoline Museums). Credits: Barbara McManus, 2003
Keywords: fish, seafood
marble sarcophagus relief with harbor scene, Roman, third century CE
The sculpted relief is crowded with ships, buildings, and deities; it may represent a maritime festival, such as the navigium
Isidis (the boat of Isis), celebrated on March 5.
Rome, Belvedere Courtyard, Vatican Museums. Credits: Barbara McManus, 2003
marble statue of Anubis, Roman, first-second century CE
This statue of jackal-headed Egyptian god associated with the afterlife also has the attributes of Hermes, including the caduceus; his tunic and military cloak are Roman.
Rome, Vatican Museums. Credits: Barbara McManus, 2003
Keywords: Egypt; religion
marble relief with Isaic scenes, Roman, from Ariccia, first century CE;
smaller version.
The upper register shows Egyptian deities in small shrines, including
Isis,
Apis, and
Bes. Below are
three women in transparent
dresses dancing ecstatically, accompanied by pygmies dancing and marking rhythm with crossed sticks,
while viewers on a platform keep time by clapping. The relief may be connected with the feast of the navigium Isidis (the boat of Isis), celebrated on March 5.
Rome, Palazzo Altemps (National Museums). Credits: Barbara McManus, 2012
Keywords: Egypt; religion
wall painting of the navigium Isidis, Roman, from the Temple of Isis in Pompeii, first century CE
The "boat of Isis" appears between two heads of river gods representing the Nile; below the two sacred snakes of Isis and
Serapis flank a cista on which is depicted the boat of Isis.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2003
Keywords: Egypt; religion
wall painting of a priest of Isis, Roman, from the Temple of Isis in Pompeii, first century CE
The elderly priest with shaven head , wearing a fringed white robe, carries a cobra with upraised head (uraeus) on a rose wreath.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2003
Keywords: Egypt; religion
archaizing marble statue of Isis, Roman, from the Temple of Isis in Pompeii, first century CE
The goddess holds an ankh (the Egyptian heiroglyph for "eternal life") in her left hand.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2003
Keywords: Egypt; religion
left side of long mosaic depicting flora and fauna of the Nile, Roman, first century CE
Ducks and a hippopotamus are shown, along with a cobra rearing over a small mammal. The
right side of the mosaic includes
more ducks, a crocodile, and two sacred ibis.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2003
Keywords: Egypt
enthroned marble statue of Serapis, Roman, from the Macellum in Pozzuloi
The god is seated with his right hand over the three-headed dog Cerberus; on his head he wears a grain measure (modius) and he holds a long scepter in his left hand.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2003
Keywords: Egypt; religion
bronze statuette of Serapis, Roman
The god stands with right hand raised; on his head he wears a
grain measure (modius).
Florence, Archaeological Museum. Credits: Barbara McManus, 2004
Keywords: Egypt; religion
niche with high relief of young Praetorian, Roman, from Trajanic Arch in Pozzuoli, early second century CE
The guardsman is dressed for travel with a neck scarf (focale) and poncho-like cloak (paenula); he carries a spear and small round shield.
Berlin, Pergamon Museum. Credits: Barbara McManus, 2005
Keywords: military; Praetorian Guard
grave stele of a gladiator, Roman, from Tralles (modern Aydin, Turkey), early second century CE
His distinctive helmet--oval with small eye
openings--identifies him as a secutor ("pursuer"), who typically fought against a retiarius. He carries a large
cylindrical shield and a short sword, and wears a
short shin greave on his left leg. The numerous wreaths on the stele indicate his victories.
Istanbul, National Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: sport; tombstone
model of levels of seating in the cavea of the Colosseum, modern
model with labels.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2003
Keywords: sport; arena; amphitheater
model of the Colosseum, Colossus, and Meta Sudans, modern (plastico of fourth century CE city)
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: sport; arena; amphitheater
model of the Ludus Magnus, behind the Colosseum, modern (plastico of fourth century CE city)
another view of the Ludus Magnus, behind the Colosseum.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: sport; gladiatorial school
model of the Theater of Marcellus, from behind, modern (plastico of fourth century CE city)
This view shows the scaenae frons of the theater and the two temples behind the theater, the Temple of Apollo Sosianus
and the Temple of Bellona.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: drama; city of Rome
model of the Praetorian Camp castra praetoria,
from above with labels; modern (plastico of fourth century CE city)
model from ground level;
detail: model of the commander's headquarters (praetorium.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: military; Praetorian Guard
relief from Trajan's Column, Roman, 113 CE)
larger version
Trajan is shown with members of the Praetorian Guard in traveling dress.
Rome, Trajan's Column. Credits: Barbara McManus, 2004
Keywords: military
relief from Trajan's column, modern cast
Trajan is shown addressing the soldiers.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2003
Keywords: military
fragment of a sarcophagus relief, service boat, Roman
detail: porter carrying wine amphora and scroll.
A porter (phalangarius) unloads a wine amphora from a small service boat used to bring the cargo from larger riverboats to the quay; in his hand he carries the document identifying the contents of the amphora.
Rome, Terme Diocleziano, (National Museums). Credits: Barbara McManus, 2007
Keywords: commerce; emporium
funerary altar of Marcus Gavius Amphion Mus, Roman, second century CE
detail: mouse chasing loaf of bread.
As indicated by the inscription, Mus was the
freedman of Marcus Gavius Maximus, powerful Praetorian Prefect under Antoninus Pius for about 20 years. The son who set up this
monument chose to honor his father's nickname by the playful carving of a mouse at the top of the altar.
Rome, Terme Diocleziano, (National Museums). Credits: Barbara McManus, 2007
Keywords: tombstone; liberti
cinerary altar of Aurelia Nais, Roman, early second century CE
right side with libation jug (urceus);
left side with libation bowl (patera).
As indicated by the inscription, Nais was the
freedwoman of a freedman named Gaius Aurelius Phileros; she was a fish-vendor (piscatrix) near the Horrea Galbana in the Emporium district
of Rome. The altar had cavities on the top for three cinerary urn and was set up by Nais, Phileros, and another freedman,
Lucius Valerius Secundus, so the three may have been business partners and all planned to have their ashes kept in this
monument.
Rome, Terme Diocleziano, (National Museums). Credits: Barbara McManus, 2007
Keywords: tombstone; liberti
funerary altar of Cantinea Procla, Roman, found on the Via Ostiense, first century CE
side view, showing snake coiling around cista
mystica.
As indicated by the inscription, Cantinea Procla was the freeborn daughter of Marcus Cantineus; the altar was dedicated by her husband, Gaius Julius Hermes. Cantinea's portrait indicates that she was a priestess of Isis; she holds a situla (ritual vessel for sacred water from the Nile) in her left hand and a sistrum (rattle used in rituals of Isis, now broken off) in her right. Snakes are shown twining around ritual
baskets on either side of the altar.
Rome, Terme Diocleziano, (National Museums). Credits: Barbara McManus, 2007
Keywords: tombstone; religion
funerary inscription for Cornelia Frontina, Roman, found on the Via Appia, second century CE
Cornelia Frontina was daughter of two imperial freedpeople--Flavia Nice and Marcus Ulpius Callistus, overseer in the armory of
the Ludus Magnus. She died at the age of 16 years and 7 months. Her name indicates that she had been born into slavery and
freed by a different master, a member of the gens Cornelia.
Rome, Terme Diocleziano, (National Museums). Credits: Barbara McManus, 2007
Keywords: tombstone; liberti
funerary inscription for Fuscus, charioteer for the Greens, Roman, found on the Via Salaria, 35 CE
Fuscus lived for 24 years and won over 50 races; the tablet boasts that he was the first charioteer to win the palm of victory on the day he started racing. Machao, his fellow slave, commissioned the inscription so that this young charioteer would be remembered.
Rome, Terme Diocleziano, (National Museums). Credits: Barbara McManus, 2007
Keywords: tombstone; liberti; sport, chariot racing; Green stable
inscription for a woman patron, Volusia Cornelia, Roman, from Nemi, mid-first century CE
This large block of stone, beautifully inscribed, was located on the front of a theater stage in the villa of the Volusi
Saturnini, an important senatorial family. The inscription honors Volusia Cornelia for restoring the theater; she may have been the daughter of Quintus Volusius Saturninus, consul in 56 CE.
Rome, Terme Diocleziano, (National Museums). Credits: Barbara McManus, 2007
Keywords: patronage
marble cinerary urn of Gaius Julius Hermes, Roman, found on the Via Appia, end first century CE
side view with tree and birds.
As indicated by the inscription, the urn was set
up by Hermes' friend Gaius Julius Andronicus, a man freed by the same patron; Hermes lived 34 years, 5 months, and 14 days.
Although not mentioned in the inscription, Hermes had a wife, because the
portrait shows a couple clasping hands in the dextrarum junctio that symbolized marriage, and the wife holds a
pomegranate, symbol of fertility.
Rome, Terme Diocleziano, (National Museums). Credits: Barbara McManus, 2007
Keywords: tombstone; liberti
iron slave collar with inscribed bronze tag, Roman, fourth-sixth century CE
The inscription says "I have run away; hold me. When you shall have returned me to my master, Zoninus, you will receive a gold coin (solidus).
Rome, Terme Diocleziano, (National Museums). Credits: Barbara McManus, 2007
Keywords: slavery; runaway; fugitive
fragment of a monument depicting gladiatorial combat, Roman, found on the Via Arenula, end third century CE
A victorious gladiator stands over his fallen opponent; the victor is identified as a secutor ("pursuer") by his
distinctive oval helmet with small eye openings; he holds a short sword and wears a short shin greave on his left leg. His
opponent is a retiarius ("netman"), who has lost his trident; the secutor appears to be pulling away the net
from the right hand of the retiarius, whose high shoulder protector (galerus) can be seen on his left arm.
Rome, Terme Diocleziano, (National Museums). Credits: Barbara McManus, 2007
Keywords: tombstone; sport, munera
fragment of a frieze depicting gladiatorial combat, Roman, found in Fiano Romano north of Rome, late first century BCE
This frieze formed part of a large funeral monument, reflecting the origin of gladiatorial combat as part of funeral games.
The two gladiators fighting here appear to be a murmillo on the left and a hoplomachus on the right, but
the armor and weapons are less complex than those used during the imperial period (for example, both gladiators wear crested helmets, but neither has a visor over the face).
Rome, Villa Giulia Museum. Credits: Barbara McManus, 2007
Keywords: tombstone; sport, munera
funerary inscription for Crescens, charioteer for the Blues, Roman, found on the Via della Pace, first half of the second century CE
detail: beginning of inscription.
Crescens was a Moor from the province of Mauretania in Northern Africa; he drove for the Blue stable and raced 686 times, winning only 47 of those races but earning a grand total of 1,558,346 sesterces. He died at the age of 22.
Rome, Tabularium (Capitoline Museums). Credits: Barbara McManus, 2007
Keywords: tombstone; sport; chariot racing
funerary inscription for Glyconis, Roman, second century CE
This inscription is in the form of a ten-line poem spoken by the husband of Glyconis, a freedman named Publius Mattius Chariton.
The name Glyconis is derived from the Greek word meaning "sweet," and the whole poem is based on the association of this woman with all the soft, sweet, playful, pleasing things in life, including especially wine, singing, and the weaving of floral wreaths.
Rome, Tabularium (Capitoline Museums). Credits: Barbara McManus, 2007
Keywords: tombstone; liberti
large storage jar (dolium), Roman, found on the Via Marmorata in the Emporium district of Rome
Rome, Tabularium (Capitoline Museums). Credits: Barbara McManus, 2007
Keywords: commerce
walled storage area for wine or oil, Ostia, second century CE
This area contained approximately 35 large storage jars (dolia) buried nearly to their necks in the ground. These
terracotta dolia were lined with wax or pitch so they could be used to store and preserve large quantities of wine or
olive oil; the average capacity of these jars was 40 amphoras, about 230 gallons.
Ostia, Cassegiato dei Dolii. Credits: Barbara McManus, 2007
Keywords: commerce
Horrea Epagathiana et Epaphroditiana, Ostia, second century CE
The name of this private granary is inscribed on a plaque over the door; it was owned by two freedmen, Epagathus and
Epaphroditus, and built c. 145-150 CE.
Ostia. Credits: Barbara McManus, 2007
Keywords: commerce
amphora for transporting olive oil, Roman, found in Inch, Scotland
Olive oil amphoras had a typical squat, round shape; this shape is termed "Dressel 20" by modern archaeologists.
Edinburgh, National Museum of Scotland. Credits: Barbara McManus, 2004
Keywords: commerce
bust of unknown woman, Roman
Rome, Vatican Museums, Chiaramonti Corridor. Credits: Barbara McManus, 2003
Keywords: portrait
bust of Minerva, Roman, found near Paterno (ancient Laurentum), second century CE
Copy of the fifth-century BCE Greek original by Pheidias.
Rome, Vatican Museums, Chiaramonti Corridor. Credits: Barbara McManus, 2007
Keywords: Athena; Athene
statue of Minerva with helmet and aegis, Roman, found near From Santa Maria Sopra Minerva, second century CE
detail: head and upper torso;
side view of statue;
side view: head and upper torso;
detail: bearded snake coiled at feet.
Known as the "Minerva Giustiniani" after the Italian collector who first owned it, this Parian marble statue is a copy of a fourth-century BCE Greek original; both forearms, the spear, and the sphinx atop her helmet are restorations.
Rome, Vatican Museums, Braccio Nuovo. Credits: Barbara McManus, 2007
Keywords: Athena; Athene
bust of bearded unknown man, Roman
Rome, Palazzo Nuovo (Capitoline Museums). Credits: Barbara McManus, 2003
Keywords: portrait
bust of unknown man, Roman
Rome, Palazzo Nuovo (Capitoline Museums). Credits: Barbara McManus, 2003
Keywords: portrait
marble lion sculpture, Roman
Rome, Palazzo Nuovo (Capitoline Museums). Credits: Barbara McManus, 2007
Keywords: animals
marble fragment of relief of a triumphal procession, Roman, fc. 194-195 CE;
smaller version.
Slaves carry trophies on a decorated platform, the ferculum triumphale, behind a toga-clad senator.
Rome, Palazzo Altemps (National Museums). Credits: Barbara McManus, 2003
Keywords: military; conquest; barbarians
Go to Index, Part I, Part II, Part III, Part IV, Part V, Part VI, Part VII, Part VIII, Part IX, Part X, Part XI, Part XII, 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
revised August, 2013
