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 XIII, 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
fragmentary mosaic of the wedding of Bellerophon and Philonoe, Roman, fourth century CE
This large and beautifully executed mosaic comes from the so-called "House of the Nymphs," a large residence with a series of
mosaics based on unusual mythological subjects, often drawn from Greek literature, leading to the conclusion that the
owner of the home was a highly educated patron of the arts. On the left, the
shy bride, dressed in a saffron tunic with a
wedding wreath hovering symbolically over her head, is brought toward Bellerophon, who stands on the right holding Pegasus,
the winged horse he has tamed (only a wing can be seen). Between the bride and groom stands Iobates, king of Lycia, father
of Philonoe.
Nabeul, Tunisia, Archaeological Museum. Credits: Barbara McManus, 2010
Keywords: mythology
ground-level concentric corridor of amphitheater, Roman, El Djem, third century CE
The amphitheater at El Djem (ancient Thysdrus) is the third largest surviving Roman amphitheater; it was constructed from 230-238 CE.
El Djem, Tunisia, Amphitheater. Credits: Barbara McManus, 2010
Keywords: sport; arena; munera
reconstruction drawing of amphitheater at Uthina, by J.C. Golvin, modern
plan of amphitheater.
The amphitheater at Oudna (ancient Uthina) was built during the reign of Hadrian (117-138 CE). The drawing shows its unusual construction; it was built into a natural hollow, so that the arena floor and lowest levels of seating were actually below the level of the surrounding ground.
Oudna, Tunisia, Amphitheater. Credits: Barbara McManus, 2010
Keywords: sport; arena; munera
cavea of amphitheater at Uthina, Roman, second century CE
Part of cavea has been reconstructed.
Oudna, Tunisia, Amphitheater. Credits: Barbara McManus, 2010
Keywords: sport; arena; munera
cavea and entrance arch of amphitheater at Uthina, Roman, second century CE
This end of the amphitheater has been reconstructed.
Oudna, Tunisia, Amphitheater. Credits: John McManus, 2010
Keywords: sport; arena; munera
three openings for trapdoors in amphitheater at Uthina, Roman, second century CE
Oudna, Tunisia, Amphitheater. Credits: John McManus, 2010
Keywords: sport; arena; munera
arena of amphitheater at Uthina, Roman, second century CE
From this view the long underground corridor running down the center of the arena can be seen.
Oudna, Tunisia, Amphitheater. Credits: Barbara McManus, 2010
Keywords: sport; munera
high wall separating arena and cavea of amphitheater at Uthina, Roman, second century CE
The wooden and metal fence for the further protection of spectators has been reconstructed.
Oudna, Tunisia, Amphitheater. Credits: Barbara McManus, 2010
Keywords: sport; munera
holes for attaching chains in amphitheater at Uthina, Roman, second century CE
The stone walls in the underground concentric corridor of this amphitheater had numerous holes cut for ease in fastening
chains which bound animals and prisoners.
Oudna, Tunisia, Amphitheater. Credits: Barbara McManus, 2010
Keywords: sport; munera
entrance corridor of theater at Dougga, Roman, second century CE
The theater at Dougga (ancient Thygga) was built in 168 CE. This is the view of the orchestra and stage from one of the two side entrances (vomitoria).
Dougga, Tunisia, Theater. Credits: Barbara McManus, 2010
Keywords: drama
stage, orchestra, and cavea of theater at Dougga, Roman, second century CE
Dougga, Tunisia, Theater. Credits: Barbara McManus, 2010
Keywords: drama
view of stage from orchestra of theater at Dougga, Roman, second century CE
another view of stage showing columns of
scaenae frons.
Dougga, Tunisia, Theater. Credits: Barbara McManus, 2010
Keywords: drama
view of cavea from orchestra of theater at Dougga, Roman, second century CE
another view showing vomitorium.
Dougga, Tunisia, Theater. Credits: Barbara McManus, 2010
Keywords: drama
view of orchestra, stage, and scaenae frons from top of cavea of theater at Dougga, Roman, second century CE
Dougga, Tunisia, Theater. Credits: John McManus, 2010
Keywords: drama
Altar of the Gens Augusta from Carthage; Roman, c. 14 CE
This altar was built by the freedman P. Perelius Hedulus in a sacred precinct on his private property; Hedulus is shown here sacrificing (this fourth side of the altar is carved less elegantly than the other three sides, indicating that it may have been done locally). The first side depicts
Aeneas, Anchises and Ascanius
leaving Troy; this scene is thought to imitate the statue group in the Forum of Augustus, with the addition
of a gnarled tree with a bull's skull in its fork. On the second side,
Actian Apollo reclines with
his cithara, a griffin, and tripod, evoking images from Augustus's great Temple of Apollo on the Palatine. The third side depicts
the goddess Roma seated on a pile of arms, reminiscent of the Roman panel on the Ara Pacis. Here she holds a pillar on which a
winged Victory has just
placed a shield, the clipeus virtutis; on the left is an altar with a large cornucopia, caduceus, and globe.
Tunis, Bardo Museum. Credits: Barbara McManus, 2010
Keywords: Vergil, Virgil, Aeneid; Augustan symbolism
marble bust of a young man wearing a Phrygian cap, Roman
The cap and elaborately curled hair suggest Attis, the consort of the goddess Cybele.
Rome, Palazzo Nuovo, Capitoline Museums. Credits: Barbara McManus, 2003
Keywords: mythology; Magna Mater
funerary altar of Julia Victorina, Roman, last quarter of first century CE
detail: portrait and inscription.
According to the inscription, Gaius Julius Saturninus and Lucilla Procula set up this beautifully carved
monument for their 10-year old daughter, who is portrayed with a crescent moon, associating her with
the goddesses Diana and Selene.
Paris, Louvre Museum. Credits: Barbara McManus, 2009
Keywords: children; death
relief of a mintmaster, Roman.
He is shown supervising workers in the mint. On the left the malleator lifts his mallet over the
anvil; on the right the supposter holds up the punch die in his right hand and the tongs in his left.
The patera (libation bowl) and urceus (ritual jug) indicate that this is probably the
mintmaster's funerary monument.
Chieti, National Archaeological Museum of the Abruzzi. Credits: Barbara McManus, 2010
Keywords: coin making; coin striking
fresco of Dido and Africa, from
Atrium 2 of the House of Meleager in Pompeii, first century CE
smaller version.
The Queen of Carthage sits on a throne; one female attendant holds a parasol over her head, while the other
holds an ivory rhyton. A personification of Africa wearing an elephant headdress leans on a pillar and looks
at the Queen. There is a ship in the background (probably indicating the arrival of Aeneas).
Naples, National Archaeological Museum. Credits: Barbara McManus, 2010
Keywords: Vergil, Virgil, Aeneid
fresco of Hercules and Omphale, from Pompeii, first century CE
The Lydian Queen Omphale
holding a leaf-fan, looks down at Hercules with a bemused expression; her tunic slips off of her left shoulder in the manner of Venus. She is flanked by two young girls.
Hercules
wearing a woman's dress and a wreath on his head, reclines drunkenly below with one arm raised
in the air.
Cupids play with his club,
while others sport with his quiver.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2010
Keywords: mythology; Ovid
marble statue group of Hercules and Omphale, Roman, first century CE
Omphale wears Hercules' cloak and lion-skin headdress; she leans on his club. Hercules, dressed in a woman's tunic slipping off his shoulder in the manner of Venus, wears a woman's snood and holds skeins of wool in his hands; there is a wool basket at his feet.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2010
Keywords: mythology; Ovid
fresco of Medea, from
peristyle of the Casa di Dioscuri in Pompeii, first century CE
smaller version.
The fresco may have been inspired by a painting of Timomachos. Medea, clutching a sword, debates whether to
kill her children; the two boys are playing knucklebones while their paedagogus looks on.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2010
Keywords: mythology; Euripides
fresco of Macedonian ruler and philosopher, from the villa of P. Fannius Synistor, Boscoreale, 60-40 BCE
This fresco depicts a
young Macedonian prince and a woman who may represent Antigonus II Gonatas and his mother Phila. The prince wears the Macedonian felt cap (kausia); his weapons--the long lance (sarisa) and shield with central star--are also Macedonian. The woman contemplates the
philosopher in the next frame, who may represent Menedemus of Eretria.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2010
Keywords: wall painting
painting on marble, from
Herculaneum, first century CE
smaller version.
The goddess Leto ignores
Niobe, who is pushed forward by her daughter Phoebe
to apologize for her boast that she has so many more children than the goddess. Two other daughters,
Aglaia and Ileira, play
knucklebones, unaware that
they are soon to be killed by Artemis. The painting is signed by "Alexander the Athenian."
Naples, National Archaeological Museum. Credits: Barbara McManus, 2010
Keywords: mythology; Latona
fresco of a girl having her hair dressed,
from the palaestra of the Forum Baths in Herculaneum, first century CE
smaller version.
This beautifully painted scene was one of four separate painted panels found leaning against a wall of the palaestra, ready to be inserted into the wall of a room. A
matrona with upswept
hair watches from the side, with her left arm around the shoulders of another young girl; she fingers her
bordered palla with her right hand and wears
golden sandals on her
crossed feet. A
servant arranges the hair of an
elegantly dressed young woman, whose nearly transparent tunic with lacy border at the hem and golden buttons down her arms resembles descriptions
of Coan silk garments. On the right is a
wooden tripod table beneath which stands a tall glass jug with trefoil spout.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2010
Keywords: toilette; adornment
funerary inscription of Marcus Vennius Rufus, Roman, from Naples region
Rufus identifies himself as a sevir, a magistrate on a board of six men, usually freedmen, with public duties and honors in provincial towns. Rufus has set up the inscription for himself, his father (Marcus Vennius Demetrius), his mother (Vennia Rufa), his wife (Valeria Urbana), and--unusually--his concubine (Fufia Chila).
Naples, National Archaeological Museum. Credits: Barbara McManus, 2010
Keywords: freedpeople; concubina
cinerary altar for Antonia Panaces, from Rome, second century CE
The inscription
laments the death of a girl who lived 9 years, 11 months, and thirteen days and gives the names of her father
and mother. The top of the altar has a cavity to hold the urn with Antonia's ashes. A Gorgon flanked by swans
looks out over a wreath at the top of the altar, and a skeleton reclines at the bottom over a border of ivy.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2010
Keywords: funerary; tombstone; freedpeople
relief of metal worker's shop, from Pompeii, first century CE;
larger version.
This was probably a shop sign, depicting several stages in the process of making metal utensils. On the left, the metal is weighed in large hangng scales (note the child holding on to the man's tunic); in the top center is depicted the furnace, below which a smith hammers the hot metal on an anvil. On the right, an artisan sculpts a utensil, while finished buckets, seashell shapes for the making of cakes, and plates are displayed above him.
Naples, National Archaeological Museum. Credits: Ann Raia, 2012
Keywords: commerce; cooking utensils; workshop
fresco of bread shop, from the House of the Baker, Pompeii, first century CE
A man behind a wooden counter is handing a loaf of bread to a man, while a young boy reaches up eagerly. The shelves are heaped with
loaves of the typical round bread.
Some scholars have recently interpreted this as a representation of the free distribution of bread
(annona) rather than a baker's shop.
Naples, National Archaeological Museum. Credits: Ann Raia, 2012
Keywords: commerce; wall painting
bronze military diploma, Roman, 149 CE
This diploma, issued under Antoninus Pius, grants Roman citizenship and the right of legal marriage
(iustum conubium) to men of foreign birth who had served in auxiliary cohorts of the Roman army for 25 years. The two parts of the diploma, the
text and the
list of names were bound together,
sealed, and given to each man upon discharge. This copy belonged to a man named Dasmenus Azalus, son of Festus (DASMENO FESTI F[ilio] AZALO), as can be seen near the bottom of the text.
New York, Metropolitan Museum of Art. Credits: Barbara McManus, 2011
painted terracotta statue of Zeus carrying off Ganymede, Greek, from Olympia, 480-470 BCE
detail, upper half of statue.
This was probably the central acroterion (statue or ornament placed atop a pediment) of a building in the sanctuary of Olympian Zeus, made in a Corinthian workshop. The king of the gods carries off the young Trojan prince Ganymede, seduced by the beauty of the youth, while Ganymede holds a rooster, traditional love gift of men to boys. In the myth, Zeus took Ganymede to Mount Olympus, where he became cup-bearer to the gods, eternally youthful and beautiful.
Olympia, Archaeological Museum of Olympia. Credits: Barbara McManus, 2007
Keywords: mythology; Jupiter
statue of Diana with hunting dog, Roman
detail of dog in supplicant posture.
Rome, Vatican Museums (Gallery of the Candelabra). Credits: Barbara McManus, 2003
Keywords: Artemis; mythology
another statue of Diana with hunting dog, Roman
detail of dog.
Rome, Vatican Museums (Gallery of the Candelabra). Credits: Barbara McManus, 2003
Keywords: Artemis; mythology
mosaic of gladiatorial combat, Roman, found on the Via Appia, beginning of the fourth century CE
The inscripton on this mosaic reads NECO HAEC VIDEMVS SYMMACHI HOMO FELIX HABILIS MATERNVS QVIBVS PVGNANTIBVS
SYMMACHIVS FERRVM MATERNVS HABILIS MISIT. The victorious gladiator, Symmachius, has a palm leaf after his
name, while the defeated gladiator, Maternus, has the Greek letter theta after his name (this is the theta
nigrum, signifying that he was killed in the arena). Although there is some disagreement about how to
translate this inscription, its meaning is generally "I kill; we see these things, O Symmachius, fortunate
man. Maternus [was] capable. As these were fighting, Symmachius delivered the sword-blow; capable Maturnus
[was killed]." The
lower half of the mosaic
depicts the fight between the two gladiators, closely supervised by two referees; the one with the long staff is probably the senior referee (summa rudis). These two gladiators are of the same type, wearing short tunics, quilted leg protectors, visored helmets with two feathers, and carrying swords and round shields (this type of gladiator may have been called an eques, "knight, horseman"). The
upper half of the mosaic
depicts the end of the fight. Maternus lies on the ground in a pool of blood, with his head covered by a cloth, and Symmachius leans over him, perhaps to pick up his helmet, while the summa rudis looks on.
Madrid, National Archaeological Museum. Credits: Ann R. Raia, 2011
Keywords: sports
fresco of a riot in the amphitheater, from the House of Anicetus (I, 3, 23), Pompeii, first century CE
smaller version;
detail of amphitheater.
The external stairs of the amphitheater can clearly be seen; the awning (velarium) is visible at the
top but pulled back to show the interior of the arena.
Vendors in temporary shops are depicted among the trees in front of the amphitheater. The event commemorated took place in 59 CE, when a
brawl broke out between the Pompeians and the neighboring Nucerians while gladiatorial games were being held
(much like fights that erupt at modern soccer games); in punishment for the riot, Nero imposed a ten-year ban
on gladiatorial fights in the amphitheater. Rioters are fighting around the
Large Palaestra
(colonnaded exercise-ground) to the right of the amphitheater; a swimming pool can be seen in the center of
the palaestra.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial combat
black-and-white mosaic with hunting scene, Roman, found in the Castra Praetoria, second century CE;
detail. The inscription
refers to games held to celebrate the twentieth year of Antoninus Pius's rule; the Greek letter theta (theta nigrum) over the tiger indicates that the animal was killed, while the V (for vicit) next to the hunter indicates that he was victorious.
Rome, Colosseum. Credits: Barbara McManus, 2010
Keywords: arena; sport; venatio
floor mosaic depicting a spectacle in the arena, Roman, from the Sollertiana domus, end of second century CE
The mosaic portrays damnatio ad bestias, the execution of criminals in the arena by wild animals.
A tied man is being
devoured by a leopard,
while another tied man is being
pushed toward a leopard.
El Djem, Tunisia: El Djem Archaeological Museum. Credits: Barbara McManus, 2010
Keywords: sport; execution
fragment of a relief showing animals in the arena, Roman, second-third century CE
Selçuk, Turkey, Ephesus Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: sport; venatio
fragment of a relief showing man with hammer, Roman, second-third century CE
This may represent an attendant at gladiatorial games impersonating Dis Pater, god of the dead,
who used his hammer to make sure that defeated gladiators condemned to die were fully dead. Some skeletons in
the gladiator cemetery at Ephesus show blunt-force trauma to the skull that could have been caused by a large
hammer such as depicted here.
Selçuk, Turkey, Ephesus Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: sport; arena
drawing of various types of gladiators showing typical armor and weapons, modern
drawing of an eques ("horseman");
drawing of a hoplomachus ("heavy-weapons fighter");
drawing of a murmillo ("fish");
drawing of a provocator ("attacker");
drawing of a retiarius ("netman");
drawing of a secutor ("pursuer");
drawing of a thraex ("Thracian").
Selçuk, Turkey, Ephesus Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: sport; arena; gladiatorial armor
terracotta lamp showing gladiatorial equipment and weapons, Roman, first century CE;
detail.
a similar lamp;
detail.
Rome, Colosseum. Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
bronze curved horn (cornu), Roman, first century CE
These horns were used for musical accompaniment during the procession (pompa) that began the games.
Rome, Colosseum ("Gladiatores" Exhibit; from the National Archaeological Museum in Naples). Credits: Barbara McManus, 2010
Keywords: arena; sport; music
bronze sword handle in the form of an eagle head, Roman, found in the Quadriporticus of the Theater in Pompeii, first century CE
The back of the handle
shows a Victory standing on a globe holding up a Gorgon's head. This elaborate handle was originally attached
to a gladiator's sword.
Rome, Colosseum ("Gladiatores" Exhibit; from the National Archaeological Museum in Naples). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
bronze helmet of a Murmillo gladiator, Roman, said to be from the Adriatic coast, second century CE
Berlin, Pergamon Museum. Credits: Barbara McManus, 2005
Keywords: arena; sport; gladiatorial armor
bronze helmet of a Murmillo gladiator, Roman, found in the Quadriporticus of the Theater in Pompeii, first century CE
In the center is the relief of a Gorgon's head, above which the high crest bears a relief of the armored god
Mars Ultor. The
side view shows reliefs
of griffins, Cupids, and various vessels.
Rome, Colosseum ("Gladiatores" Exhibit; from the National Archaeological Museum in Naples). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
replica of the above bronze Murmillo gladiator helmet, modern, designed by Silvano Mattesini
This
mannequin of a Murmillo
wears a leather arm protector, based on a mosaic in Zliten, Libya, and a wide decorated belt over his loin cloth (subligaculum), based on a mosaic in Verona.
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
replica of a large Murmillo shield and bronze helmet, modern, designed by Silvano Mattesini
The shield is based on an artefact from the Württemberg State Museum in Stuttgart. The
helmet, with a relief of Hercules, is based on a bronze helmet in the British Museum.
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
replica of a bronze Murmillo gladiator helmet, modern, designed by Silvano Mattesini
Side view; this
replica is based on an original decorated with military trophies found in the Quadriporticus of the Theater in Pompeii.
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
short bronze shin-guard of the type worn by a Murmillo gladiator, Roman, found in the Quadriporticus of the Theater in Pompeii, first century CE
side view.
This short shin-guard (ocrea) bears a relief of the goddess Minerva in the center holding a spear and shield, in the archaic style of the Palladion from Troy.
Rome, Colosseum ("Gladiatores" Exhibit; from the National Archaeological Museum in Naples). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
replica of above bronze shin-guard, modern, designed by Silvano Mattesini
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
replica of the type of sword used by a Murmillo gladiator, modern, designed by Silvano Mattesini
This replica is based on an original found in the Quadriporticus of the Theater in Pompeii.
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
tombstone of a Murmillo gladiator, Roman, from the gladiator graveyard in Ephesus, second-third century CE
The gladiator wears a helmet with high crest, a padded arm-protector, and one short shin-guard;
he carries a large curved rectangular shield and stabbing sword (gladius). The wreaths on the stone
indicate victories.
Selçuk, Turkey, Ephesus Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: arena; sport; gladiatorial armor
tombstone of a Murmillo gladiator, Roman, from the gladiator graveyard in Ephesus, second-third century CE
The Greek inscription indicates that this gladiator was named Palumbus; the stone was dedicated by his wife
Hymnis. He was apparently a free-born mercenary who enrolled in the gladiatorial school voluntarily. His
left hand rests on his helmet and long shield, while his right holds a palm branch signifying victory.
Selçuk, Turkey, Ephesus Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: arena; sport; gladiatorial armor
skeletal wounds of a Murmillo gladiator from the gladiator graveyard in Ephesus, second-third century CE
Analysis of the skeleton of a Murmillo gladiator shows the manner in which the victorious gladiator
administered the fatal sword thrust after a defeated gladiator had been condemned to die.
The vanquished fighter was expected to offer his neck bravely without flinching.
Selçuk, Turkey, Ephesus Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: arena; sport
relief depicting gladiatorial combat, Roman, from Ephesus, third century CE
On the left, Asteropaios, a Murmillo gladiator, attempts to stab Drakon, a Thracian gladiator; both gladiators have lost their shields.
Berlin, Pergamon Museum. Credits: Barbara McManus, 2005
Keywords: arena; sport; gladiatorial armor
terracotta lamp depicting gladiatorial combat, Roman, second century CE
A Murmillo gladiator, on the left, has brought his opponent, a Thracian, to his knees.
Paris, Louvre Museum. Credits: Barbara McManus, 2009
Keywords: arena; sport; gladiatorial armor
fragment of a mold-made Roman bowl (terra sigillata) depicting gladiatorial combat, Roman, said to be from Londinium, second century CE
A Murmillo gladiator, on the left, fights a Thracian, on the right.
New York, Metropolitan Museum of Art. Credits: Barbara McManus, 2011
Keywords: arena; sport; gladiatorial armor
bronze helmet of a Thracian gladiator, Roman, found in the Quadriporticus of the Theater in Pompeii, first century CE
The crest of the helmet is topped with the
head of a griffin,
signifying this type of gladiator (thraex); a palm tree is depicted in relief in the center of the helmet.
Rome, Colosseum ("Gladiatores" Exhibit; from the National Archaeological Museum in Naples). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
replica of the above bronze Thracian gladiator helmet, modern, designed by Silvano Mattesini;
helmet on a mannequin.
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
mannequin of a Thracian gladiator, modern, designed by Silvano Mattesini
The model is based on a bronze statuette of a Thracian from the Kestner Museum in Hannover, Germany. He wears a feathered griffin helmet, wide decorated belt, and loin cloth (subligaculum).
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
terracotta lamp depicting the helmet of a Thracian gladiator, Roman, from Tunisia, end of the first century CE
Paris, Louvre Museum. Credits: Barbara McManus, 2009
Keywords: arena; sport; gladiatorial armor
replica of the curved sword (sica) carried by a Thracian gladiator, modern, designed by Silvano Mattesini
This curved sica is based on a bronze statuette of a Thracian from the Kestner Museum in Hannover, Germany. Another
replica sica represents the military-style Thracian sword with a sharp crick in the blade; this replica is based on an artefact from the National Romanian History Museum in Bucharest.
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
long bronze greaves (ocreae) of the type worn by a Thracian gladiator, Roman, found in the Quadriporticus of the Theater in Pompeii, first century CE
The leg-protectors are elaborately decorated in relief, including motifs containing
theatrical masks and
an eagle and a snake.
Rome, Colosseum ("Gladiatores" Exhibit; from the National Archaeological Museum in Naples). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
replica of the above long greaves, modern, designed by Silvano Mattesini;
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
tombstone of a Thracian gladiator, Roman, from the gladiator graveyard in Ephesus, second-third century CE
The gladiator wears a griffin helmet with high crest, a padded arm-protector, and a pair of greaves;
he carries a small rectangular shield and curved sword (sica).
Selçuk, Turkey, Ephesus Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: arena; sport; gladiatorial armor
tombstone of a Thracian gladiator, Roman, c. second century CE
The gladiator wears a griffin helmet, a padded arm-protector, and a pair of long greaves;
he carries a small rectangular shield and curved sword (sica).
Antalya, Turkey, Antalya Museum. Credits: Barbara McManus, 2007
Keywords: arena; sport; gladiatorial armor
replica of a round shield of the type used by the Hoplomachus gladiator, modern, designed by Silvano Mattesini
The shield is based on an original found in the Quadriporticus of the Theater in Pompeii, which has relief decorations in silver and copper, with the head of Medusa in the center.
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
terracotta lamp depicting a Hoplomachus gladiator, Roman, end of the first century CE
The gladiator carries a small rectangular shield instead of the more typical round shield, but his
spear identifies him as a Hoplomachus.
Paris, Louvre Museum. Credits: Barbara McManus, 2009
Keywords: arena; sport; gladiatorial armor
replica of a bronze helmet of the type used by the Secutor gladiator, modern, designed by Silvano Mattesini
The helmet is based on a third-century CE Roman mosaic in the Borghese Gallery in Rome.
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
mannequin of a Secutor gladiator, modern, designed by Silvano Mattesini
The bronze helmet is based on a first-century CE original from the Quadriporticus of the Theater in Pompeii; the star-shaped leather collar on a relief in the Istanbul Archaeological Museum, the belt and loin cloth on a relief in the Staatliche Museen in Berlin,; and the scaled arm-protector on a Roman mosaic in the Borghese Gallery in Rome.
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
bronze dagger or short sword of the type used by a Secutor gladiator, Roman, found in the Quadriporticus of the Theater in Pompeii, first century CE
The handle is of bone.
Rome, Colosseum ("Gladiatores" Exhibit; from the National Archaeological Museum in Naples). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
tombstone of a Secutor gladiator, Roman, from the gladiator graveyard in Ephesus, second-third century CE
The gladiator wears an egg-shaped helmet with two eye holes, an arm-protector, and one short shin-guard;
he carries a large curved rectangular shield and a short sword or dagger. The palm branch signifies victory.
Selçuk, Turkey, Ephesus Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: arena; sport; gladiatorial armor
terracotta statuette of a Secutor gladiator, Roman, first-second century CE
The gladiator wears an egg-shaped helmet with two eye holes, a padded arm-protector, and one short shin-guard;
he carries a large curved rectangular shield and a short sword or dagger.
New York, Metropolitan Museum of Art. Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
relief of gladiatorial combat, Roman, second-third century CE
On the right a Retiarius, holding his trident and dagger, advances toward a Secutor, who has lost his large shield, which is held by the referee (summa rudis).
Selçuk, Turkey, Ephesus Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: arena; sport; gladiatorial armor
fragmentary relief of gladiatorial combat, Roman, first-third century CE
On the left a Retiarius pierces the shield of a Secutor with his trident; note that he also holds his dagger
in his right hand. The Secutor slumps over, apparently wounded. On the far left stage scenery or props are
depicted.
New York Metropolitan Museum of Art. Credits: Barbara McManus, 2007
Keywords: arena; sport; gladiatorial armor
replica of the type of dagger used by the Retiarius gladiator, modern, designed by Silvano Mattesini
This dagger is based on an original found in the Quadriporticus of the Theater in Pompeii.
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
replica of a high shoulder guard (galerus) of the type used by the Retiarius gladiator, modern, designed by Silvano Mattesini
This guard is based on an original found in the Quadriporticus of the Theater in Pompeii; it has relief decorations with a marine motif, such as a crab, rudder, trident, and anchor.
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
bronze helmet of the type used by a Provocator gladiator, Roman, found in the Quadriporticus of the Theater in Pompeii, first century CE
Side view;
rear view. Notice the
ancient repair made on the back of this helmet.
Rome, Colosseum ("Gladiatores" Exhibit; from the National Archaeological Museum in Naples). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
replica of the above bronze Provocator gladiator helmet, modern, designed by Silvano Mattesini;
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
mannequin of a Provocator gladiator, modern, designed by Silvano Mattesini
The bronze helmet is based on a first-century CE original from the Quadriporticus of the Theater in Pompeii; the embossed bronze pectoral on a relief in the Aphrodisias Museum; the loin cloth and padded sleeve on a relief in the Kos Archaeological Museum and on the tombstone of Anicetus in the Capitoline Museum in Rome.
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
tombstone of a Provocator gladiator, Roman, from Ephesus, third century CE
This heavily armed, slow-moving gladiator wears a pectoral protecting his upper chest (the only type of
gladiator who did so), a large helmet, an arm-protector, and one greave; he carries a large curved
rectangular shield and a short sword or dagger. His feet clearly testify
to the fact that most gladiators apparently fought
with bare feet for better purchase in the sand of the arena.
Berlin, Pergamon Museum. Credits: Barbara McManus, 2005
Keywords: arena; sport; gladiatorial armor
tombstone of a Provocator gladiator, Roman, from the gladiator graveyard in Ephesus, second-third century CE
The wreaths indicate his victories.
Selçuk, Turkey, Ephesus Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: arena; sport; gladiatorial armor
tombstone of the Provocator gladiator Anicetus, Roman, second half of the second century CE
Detail; the inscription
states that the tombstone was erected by Anicetus' trainer, Aelius Marcion.
Rome, Tabularium (Capitoline Museums). Credits: Barbara McManus, 2007
Keywords: arena; sport; gladiatorial armor
mannequin of an Eques gladiator, modern, designed by Silvano Mattesini
The bronze helmet is based on a
mosaic in the Rheinisches Landesmuseum in Trier; the tunic on a mosaic in Zliten, Libya; the round shield on
a relief from Pompeii in the National Archaeological Museum in Naples.
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
replica of a long sword of the type used by some Eques gladiators, modern, designed by Silvano Mattesini
The sword is based on a mosaic in the National Archaeological Museum in Madrid.
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: arena; sport; gladiatorial armor
mannequin of a military official from the Republican period, modern, designed by Silvano Mattesini
The Attic style helmet is based on a third-century BCE original from the National Romanian History Museum in Bucharest; the sword on a third-century BCE gladius in Slovenia; the molded breastplate on the second-century BCE relief of Marcus Curtius in the Capitoline Museum in Rome.
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: military; Roman army; legion
mannequin of a legionary in the imperial Roman army, modern, designed by Silvano Mattesini
The helmet is based on an iron battle helmet in the Museum der Stadt in Worms, Germany; the lorica segmentata armor on artefacts in the Romano-Germanic Central Museum in Mainz, Germany.
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: military; army; legion
replica of the helmet of a Roman centurion, modern, designed by Silvano Mattesini
The helmet, with the characteristic transverse crest, is based on the first-century CE funerary stele of P. Calidius Severus.
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: military; Roman army; legion
replica of the sword (gladius) of a Roman legionary, modern, designed by Silvano Mattesini
replica of another gladius.
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: military; Roman army; legion
replica of the hob-nailed boots (caligae) worn by Roman legionaries, modern, designed by Silvano Mattesini
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: military; Roman army; legion
replica of medallions (phalerae) worn by Roman officers, modern, designed by Silvano Mattesini
These medallions were awarded to officers for military valor and worn attached to their breastplates.
Rome, Colosseum ("Gladiatores" Exhibit). Credits: Barbara McManus, 2010
Keywords: military; Roman army; legion
ivory relief from a papyrus-roll winder, Roman, Region I Insula 2 in Pompeii, first century CE
smaller version.
This small ivory plaque was the endpiece of a device for holding open a papyrus roll to make reading easier;
it is one of two plaques with reliefs on both sides from the papyrus winder (the wooden parts of the device
are not extant, but one can see the round and square holes where the wooden dowels were inserted). In this
relief,
Hades/Pluto carries off a swooning Persephone/Proserpina in a chariot. On the other side of this piece was a relief showing Demeter/Ceres, Artemis/Diana, and Athena/Minerva seeking Demeter's lost daughter.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2012
Keywords: reading; literacy; mythology
ivory relief showing childbirth, Roman, Region I Insula 2 in Pompeii, first century CE
smaller version.
This small ivory plaque was the other endpiece of the papyrus-roll winder shown above. In this
relief, a pregnant woman sits on a birthing chair; behind her, a standing woman holds her steady, and she
lifts her left arm backwards to grasp this attendant (though the artist has carved the arm in an unnatural
position). The
midwife kneels in front of the mother with a sponge in her right hand; behind her stands a
veiled woman who extends her
hands toward the mother. Two details suggest that this scene from daily life is intended to represent a
mythological event: the tree and the scepter that the mother holds tightly with her right hand. The other
side of the relief portrays three men lifting the body of a fallen companion, so this scene may represent
the birth of the dead hero from the other side of the relief, most likely Meleager (if so, the veiled woman
at the left of the relief may be one of the Fates warning Althaea that her son would die when a log in the
hearth was consumed by fire).
Naples, National Archaeological Museum. Credits: Barbara McManus, 2012
Keywords: reading; literacy; mythology; health; birth
silver bucket (situla) with engraved scene, Roman, early third century CE
smaller version.
The engraved scene sugggests that this situla was designed to be used in a woman's toilette. The
central scene depicts Venus being being attended by three women. The
goddess is naked except for jewelry (indicated by incised dots)--armlets and a gold chain crossed at her breasts and extending around her torso (similar to the chain that Venus wears in the Pompeian fresco below). One
attendant brings her a vial of perfume, while
another rubs oil on her legs. Behind Venus on the
right side a
third attendant combs the goddess's hair with a toothed ivory comb. On the
left side, a
fourth attendant carries a large container of water from a
lion's head fountain on the back of the bucket.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2012
Keywords: bathing; Aphrodite
fresco depicting Mars and Venus, Roman, Region VII, Insula 9, House 47 in Pompeii, first century CE
smaller version.
Venus reclines back against Mars, holding a small gold object in her upraised her right hand and resting her
left arm on his spear, while the god gently lifts off her garment. One Cupid plays with the sword of Mars,
while another puts his head in the god's helmet.
Venus wears a gold chain that
crosses at her breasts and drapes around her torso; a gold band rests on her curly hair and she wears pearl earrings
(see detail).
Naples, National Archaeological Museum. Credits: Barbara McManus, 2012
Keywords: Aphrodite; mythology
gilt silver relief tondo, Hellenistic, from Miletopolis (Mysia, Turkey), second- first century BCE
smaller version.
This relief was probably from the lid or bowl of a woman's cosmetic vessel. The scene shows Aphrodite sitting on some rocks at a rural shrine; there is a goose at her feet and a
herm of the ithyphallic deity Priapus next to a column.
Aphrodite is shown with her garment slipping off her left shoulder.
Berlin, Altes Museum. Credits: Barbara McManus, 2012
Keywords: Venus; mythology
fresco depicting a scene in the forum of Pompeii, Roman, from the atrium of the House of Julia Felix (III, 2, 4) in Pompeii, first century CE
smaller version.
This is one of a series of scenes from everyday life in the forum painted in a frieze on the upper section of the atrium walls. It depicts a man presenting a young girl, presumably his daughter, to two seated magistrates in the forum.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2012
funerary altar of Calestronia, Roman, mid first century CE
This marble funerary altar was found recently on the via del Casale Rocchi, Pietralata, in the Tiburtina district of Rome. The altar commemorates the freedwoman Calestronia Egloge (Greek for "chosen, selected"); the reversed C indicates that she was freed by a woman, presumably also named Calestronia. The relief depicts two right hands clasped in the dextrarum iunctio symbolic of marriage, though no husband is mentioned.
Rome, Olearie Papali alle Terme di Diocleziano. Credits: Barbara McManus, 2007
Keywords: freedpeople; tombstone
gold necklace with crescent moon pendant, Roman, 50-150 CE
The necklace is plaited. The pendant suggests a crescent pendant (lunula), often worn by by girls as a protective amulet.
London, British Museum. Credits: Barbara McManus, 2006
Keywords: jewelry
painted pillar from a fuller's workshop (north side), Pompeii region VI, insula 8, building 20, first century CE;
east side of the pillar.
The fullonica may have belonged to Lucius Veranius Hypsaeus, twice duovir in Pompeii; election
notices were found painted on the wall of this establishment and on nearby houses. This was one of two
painted pillars flanking a fountain in the corner of the peristyle; after the pillar was transported to the
Naples Museum, this part of the building fell into ruins. However, an
early drawing by William Gell shows a reconstruction based on its appearance in the early nineteenth century (Pompeiana: the Topography, Edifices and Ornaments of Pompeii, the Result of Excavations Since 1819, Volume 1 [London, 1832], plate L, facing p. 190). The following images show details from this pillar, indicating pride in the occupation and the workers, since so many are depicted with individualized portrait faces.
Naples, National Archaeological Museum. Credits: Ann Raia, 2012
Keywords: commerce; wall painting; textiles
fresco from a fuller's workshop, Pompeii region VI, insula 8, building 20, first century CE
On the south side of the pillar is depicted the goddess Venus, wearing a radiate diadem with a red mantle draped over her shoulders but revealing her unclothed body.
Naples, National Archaeological Museum. Credits: Ann Raia, 2012
Keywords: commeece; wall painting; textiles; Aphrodite
fresco from a fuller's workshop, Pompeii region VI, insula 8, building 20, first century CE
The lower east side of the pillar depicts the cleaning of garments in treading vats filled with a mixture of urine and water. One male, shown larger than the others with a portrait face, is vigorously trampling on the garment with his feet; three other smaller figures are wringing out the cleaned clothes. Some interpret these as child slaves, and some as older workers shown on a smaller scale to save space.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2010
Keywords: commerce; wall painting; textiles
fresco from a fuller's workshop, Pompeii region VI, insula 8, building 20, first century CE
This scene appears on the upper register of the east side of the pillar. In the center,
a young man with a portrait face brushes a garment hanging on a line to soften the wool and raise the nap. On the left, another
worker with a portrait face brings a wicker cage (viminea cavea) over
which the garment will be draped; in his hand he carries a pot that holds sulfur that will be burned under the frame to whiten the cloth. The owl on the top may be a reference to Minerva, patron of textile workers. In the left corner, a
seated woman with a portrait face examines a cloth that a young girl has brought to her; her hairnet, jewelry and clothing indicate that she is a higher-class woman, possibly a customer, the proprietor, or the wife of the proprietor.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2010
Keywords: commerce; wall painting; textiles
fresco from a fuller's workshop, Pompeii region VI, insula 8, building 20, first century CE
On the upper north side of the pillar, the fresco shows a wooden frame with two upright screws that would be used to smooth and press the cleaned garment.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2010
Keywords: commerce; wall painting; textiles
fresco from a fuller's workshop, Pompeii region VI, insula 8, building 20, first century CE
The lower register of the north side of the pillar shows poles from which cleaned clothes hang; under these a
man and a well-dressed woman hold a cloth; she is probably a customer bringing a garment to be cleaned. On the right, a seated female worker appears to be cleaning a brush.
Naples, National Archaeological Museum. Credits: Ann Raia, 2012
Keywords: commerce; wall painting; textiles
fresco showing a scene in the forum of a city, from the Praedia of Julia Felix, Pompeii, first century CE
smaller version.
The fresco shows a man presenting a girl to two seated magistrates.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2012
Keywords: wall painting
fresco showing a scene in the forum of a city, from the Praedia of Julia Felix, Pompeii, first century CE
The fresco shows men and women mingling before garlanded columns.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2010
Keywords: wall painting
fresco with a procession of priests and priestesses of Isis, from Stabiae, first century CE;
smaller version;
detail, priest and priestess;
detail, priestess.
The priests and priestesses are dressed very similarly, with long garments with elbow-length sleeves and gold
chest-coverings tied at the shoulders; on their heads they wear gold circlets with a rearing cobra (uraeus). The
priests carry a ritual bucket (situla) and one or two sprinklers (aspergillum); the priestesses each carry a pillow with a gold or gilded pitcher with a long spout (urnula) that resembles the beak of the
sacred ibis.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2010
Keywords: wall painting; religion; cult
fresco depicting writing materials and implements, from Pompeii, first century CE
On the left is depicted a
spatula and a wax tablet with 4 leaves; the small projecting bosses prevented the leaves from touching (and thus smearing the writing) when the tablet was closed, and the large spatula was used to erase whole sections of text. In the center are a
double inkwell and a reed pen. On the right is a
partially unrolled scroll
(volumen) with writing.
Rome, Terme Diocleziano (National Museums). Credits: Barbara McManus, 2012
Keywords: wall painting; literacy
unrolled lead curse tablet with writing, Roman
smaller version;
detail: cursive writing.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2010
Keywords: magic; superstition; defixiones
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 XIII, 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 June, 2013
