Go to Index, Part I, Part II, Part III, Part IV, Part V, Part VI, Part VII, Part IX, Part X, Part XI, Part XII, Part XIII, Part XIV, Part XV, Roman Coins: Republic and Principate, Roman Coins: Empire, Greek Coins, Coins from the Museum of Cultural History, University of Oslo, Coins from the National Museum in Warsaw, Poland, Coins from the Hunterian Museum
statue of Augustus
as Pontifex Maximus;
larger
version
Roman, end first century BCE, from the Via Labicana
detail, senatorial
shoes; detail, umbo
(loop to hold toga in place)
Rome, Palazzo Massimo alle Terme (National
Museums). Credits: Barbara McManus, 2003
Keywords: Octavian, religion,
emperor
gold and amethyst
pin with relief cameo of a woman's head
Roman, imperial period, from
tomb at Vetralla
Rome, Palazzo Massimo alle Terme (National Museums).
Credits: Barbara McManus, 2003
Keywords: jewelry
gold and garnet pin
with intaglio carving representing a winged Victory
Roman, imperial period,
from tomb at Vetralla
Rome, Palazzo Massimo alle Terme (National Museums).
Credits: Barbara McManus, 2003
Keywords: jewelry
gold wire hairnet
similar to that worn in so-called “Sappho” fresco in
Pompeii
Roman, imperial period, from tomb at Vetralla
Rome, Palazzo
Massimo alle Terme (National Museums). Credits: Barbara McManus,
2003
Keywords: jewelry, hairstyle
woven gold hairnet
Roman, imperial period, from Via Tiburtina
Rome, Palazzo Massimo alle
Terme (National Museums). Credits: Barbara McManus, 2003
Keywords: jewelry,
hairstyle
gold signet ring
with inscription CORINTHIA VIVA[T]; Roman, imperial period
Rome, Palazzo
Massimo alle Terme (National Museums). Credits: Barbara McManus,
2003
Keywords: jewelry
bone hairpin with
inscription and heads of couple (woman's head missing)
Roman, imperial
period
Rome, Palazzo Massimo alle Terme (National Museums). Credits: Barbara
McManus, 2003
Keywords: hairstyle
gold ring with intaglio
of a camel
Roman, imperial period, from Casale Guidi
Rome, Palazzo
Massimo alle Terme (National Museums). Credits: Barbara McManus,
2003
Keywords: jewelry
gold snake
bracelet
Roman, late fourth-second century BCE
Rome, Palazzo Massimo
alle Terme (National Museums). Credits: Barbara McManus, 2003
Keywords:
jewelry
jointed ivory doll;
detail, head
Doll is
anatomically correct, wears a gold necklace, bracelets, and anklets, and has a
face and hairstyle imitating that of the empress Julia Domna; Roman, end
second-beginning third century CE, from the Via Valeria in Tivoli
Rome,
Palazzo Massimo alle Terme (National Museums). Credits: Barbara McManus,
2003
Keywords: toy, hairstyle
back of silver
mirror; detail of
relief
Roman, imperial period, from tomb at Vetralla
Handle is
sculpted and back of mirror has elaborate relief depicting Phrixus on the back
of the ram with the Golden Fleece as he flees to Colchis, carrying his sister
Helle.
Rome, Palazzo Massimo alle Terme (National Museums). Credits:
Barbara McManus, 2003
Keywords: Argonautica, Jason, Medea
gold bulla made of
thin sheets of gold
Roman, first century CE, from Ariccia
Rome, Palazzo
Massimo alle Terme (National Museums). Credits: Barbara McManus,
2003
Keywords: jewelry, boy
replica of a Roman
bulla
EUR (Rome), Museum of Roman Civilization. Credits: Barbara
McManus, 2003
Keywords: jewelry, boy
gold bracelet;
Roman, from Pompeii, first century CE;
smaller version.
This remarkable bracelet, 610 grams (21.5 oz) of solid gold, is fashioned in the form of two snakes flanking
a round disk with a carved
relief of Selene with crescent moon and stars above her head. It was found on the
arm of a woman carrying a casket containing 40 aureii and 180 denarii; she was killed along
with another adult and a child when a balcony collapsed in the house (now known as the House of the Gold
Bracelet).
Naples, National Archaeological Museum. Credits: Barbara McManus, 2010
Keywords: jewelry, Diana, moon
gold bracelets
and earrings; Roman, first century CE from Pompeii
in the form of
linked, hollow hemispheres; this type of jewelry was apparently invented by the
Romans and was very common in the first century CE
Naples, National
Archaeological Museum (“Stories from an Eruption” exhibit). Credits:
Barbara McManus, 2003
silver ring; Roman,
first century CE
in the form of two snakes holding a patera (dish
used in religious offerings) in their mouths; found in Pompeii by the body of a
girl outside the Nola gate
Naples, National Archaeological Museum
(“Stories from an Eruption” exhibit). Credits: Barbara McManus,
2003
Keywords: jewelry
bronze seal ring,
front and back views; Roman, first century CE, from Herculaneum
The letters
on the ring indicate that its owner was Marcus Pilius Primigenius Granianus;
the letters (in reverse order for stamping) are M PILI PRIMI
GRANIANI
Naples, National Archaeological Museum (“Stories from an
Eruption” exhibit). Credits: Barbara McManus, 2003
Keywords: jewelry,
signet
fresco of a
religious procession and sacrifice; Roman, first century CE
Top register
shows men wearing the toga praetexta in procession; bottom register
(very faded) shows several victimarii leading the animals for a
Suovetarilia (sacrifice of a boar, ram, and bull); probably depicts the
Compitalia, festival in honor of the Lares Compitales, protectors of the
crossroads. The fresco was found recently near Pompei in Moregine in Edifice B,
which was likely the headquarters of a religious association.
Naples,
National Archaeological Museum (“Stories from an Eruption” exhibit).
Credits: Barbara McManus, 2003
Keywords: religion
cosmetic box;
Roman, first century CE
with bronze fittings and decorated withelaborate
relief carvings in bone (wood is restored)
Naples, National Archaeological
Museum. Credits: Barbara McManus, 2003
Keywords: cosmetics, perfumes,
toilette
so-called
“Dancers of Herculaneum”, 5 statues of women wearing the Doric
peplos
a group of life-sized bronzes with inlaid eyes that were
adapted Roman copies of originals from the fifth century BCE, all found in the
Villa dei Papiri in Herculaneum.
statue 1;
detail, fastening
peplos at shoulder
statue 2,
statue 3;
statue 4;
statue
5
Naples, National Archaeological Museum. Credits: Barbara McManus,
2003
replica of statue and
inscription of Eumachia
in the building erected by Eumachia in the Forum
at Pompeii. The inscription reads "The fullers [dedicated this statue] to
Eumachia, daughter of Lucius, public priestess."
Pompeii. Credits:
Barbara McManus, 2003
Keywords: patronage, patron
doorway to the building of Eumachia, Forum of Pompeii
The marble frame of the doorway, beautifully decorated with acanthus leaves, is original.
Pompeii. Credits: Barbara McManus, 2003
so-called
"Barberini Statue", Roman, late first century BCE
This togate statue of a man of the senatorial class depicts a man holding portraits of his ancestors. He
holds a bust of his father in his left hand and encircles a portrait of his grandfather on a palm-tree
support (indicating that he was probably a successful general) with his right hand. The head of the statue
is ancient but does not belong to the body.
Details: view from side;
head and upper torso;
the two portrait busts.
Rome, Museo Montemartini (Capitoline Museums). Credits: Barbara McManus, 2003; 2004
Keywords: aristocratic display
funerary relief of two freedpeople, Roman, first century BCE
The inscription names A. Aemilius Aristomachus and Aemilia Hilara, presumably his wife and noted as freed by a woman. The couple's portraits
(detail: Hilara) are
displayed on either side as busts within cupboards with the doors thrown open, probably in imitation of the
imagines, wax masks of ancestors who had held curule office (magistrates from curule aedile to
consul) which were displayed in cupboards (armaria) in the atria of aristocratic Roman houses.
Copenhagen, National Museum. Credits: Barbara McManus, 2008
Keywords: aristocratic display, imago
funerary relief of two freedpeople, Roman, first century BCE - first century CE
The inscription, P[ublius] IUNIUS PHILOTIMU[s] FUFEICIA G[aiae] L[iberta] PHILEMATIU[m] SIBI ET SUEIS, names P. Junius Philotimus and Fuficia Philematium, presumably his wife and noted as freed by a woman. On either side are niches with two facing portrait busts:
two men on the left and
a woman and a
man on the right. These busts may imitate the imagines, wax masks of ancestors who had held
curule office (magistrates from curule aedile to consul) which were displayed in cupboards (armaria)
in the atria of aristocratic Roman houses.
Rome, Museo Montemartini (Capitoline Museums). Credits: Barbara McManus, 2004
Keywords: aristocratic display, imago
statue of seated
woman pointing to child wearing toga and bulla
view from side;
detail, child with
bulla; detail,
head
Facial features and hairstyles indicate that the group represents
Agrippina the Younger and her son Nero. Roman, first century CE
Rome,
Palazzo Nuovo (Capitoline Museums). Credits: Barbara McManus, 2003
foot of statue wearing
sandal; Roman, imperial period
Rome, Vatican Museum (Gallery of the
Candelabrum). Credits: Barbara McManus, 2003
Keywords: footwear
mosaic depicting
food; Roman, imperial period
Food includes fish, seafood, a plucked
chicken, and two kinds of vegetables
Rome, Vatican Museum (Gallery of the
Candelabrum). Credits: Barbara McManus, 2003
Keywords: dining
statue of woman wearing
peplos and holding glass perfume vial
Roman, from Ostia, c. 30
CE
Rome, Vatican Museum (Chiaramonti). Credits: Barbara McManus,
2003
Keywords: clothing
bust of man wearing
lacerna (a military style cloak fastened at the shoulder with a
fibula)
Roman, imperial period
Rome, Vatican Museum (Chiaramonti).
Credits: Barbara McManus, 2003
Keywords: clothing
funerary relief of a Roman soldier named Ares, dead at age 29; Roman, 160-80 CE
detail of the two male
figures—one wears a toga and rests his hand on a military helmet, and
the other wears a long-sleeved tunic and a lacerna (a military style
cloak fastened at the shoulder with a fibula); both figures may
represent the deceased.
The Greek inscription reads “His military
service completed, Ares dedicated his weapons and his period of service to Ares
[the god of war]. Having left these things, he was taken to a world without
order, where nothing but darkness exists.”
London, British Museum.
Credits: Barbara McManus, 1999
Keywords: clothing, funeral, tombstone,
death, Underworld
Roman terracotta lamp
with erotic scene showing rather acrobatic couple
detail showing the
lectus (couch) with a striped mattress and pillow
London, British
Museum. Credits: Barbara McManus, 1999
Keywords: lighting, furniture
terracotta relief
depicting Bellerophon on Pegasus defeating the Chimaera
Greek, from
Melos, c. 450 BCE
London, British Museum. Credits: Barbara McManus,
2001
Keywords: mythology
bronze figurine of
lar; Roman, first century CE
One of the lares familiares
(guardian spirits of the family) kept in a household shrine (lararium);
he holds a drinking horn (rhyton) and a dish used for religious
offerings (patera).
London, British Museum. Credits: Barbara McManus,
2002
Keywords: domestic religion
bronze figurine of
genius; Roman, 70-100 CE
The guardian spirit of the head of the
family (paterfamilias) kept in a household shrine (lararium); his
missing left hand held an incense box (acerra); with his right hand, he
is about to place a ball of incense on an altar.
London, British Museum.
Credits: Barbara McManus, 2002
Keywords: domestic religion
bronze figurine of
one of the penates; Roman, first-third century CE
Another
protective deity of the household kept in a household shrine (lararium);
he holds a cornucopia and a dish used for religious offerings
(patera).
London, British Museum. Credits: Barbara McManus,
2002
Keywords: domestic religion
terracotta figurine of a
slave preparing food
Since he is wiping an eye, perhaps he is peeling
onions; Roman, made in Egypt, first-second century CE
London, British
Museum. Credits: Barbara McManus, 2002
Keywords: slavery, dining
marble relief of two
female gladiators
Relief commemorates the release from service of Amazon
and Achillia, whose names are inscribed in Greek below the figures; Roman, from
Halaicarnassus in Greece, first-second century CE
London, British Museum.
Credits: Barbara McManus, 2002
Keywords: arena, gladiatorial combat,
sport
bronze strigils decorated with scenes from Circus Maximus
decorated strigil;
detail of decoration showing the egg counters, charioteer and team, and the turning posts. This set of three strigils was found at Torre Annunziata; Roman, 50-79 CE.
London, British Museum. Credits: Barbara McManus, 2003
Keywords: baths; bathing; chariot racing; leisure
bronze finial from the end of a chariot pole
depicting a Triton playing a horn; Roman, second century CE
London, British
Museum. Credits: Barbara McManus, 2003
Keywords: mythology; sea creatures
terra cotta relief with a scene from the Circus Maximus;
detail of charioteer.
The relief shows a charioteer driving a quadriga ready to round the turning post, proceeded by a jubilator on horseback; part of the body of a fallen driver can be seen at the foot of the turning post; Roman, second half of 1st century CE
London, British
Museum. Credits: Barbara McManus, 2003
Keywords: chariot racing; sport
tiny gold amulet
depicting the goddess Ceres holding a cornucopia
Roman, first-second
century CE
London, Victoria & Albert Museum. Credits: Barbara McManus,
2002
Keywords: Demeter
gold pendant with
glass beads and plasma cameos with faces of children
Roman, from an
eastern province, third century CE
London, Victoria & Albert Museum.
Credits: Barbara McManus, 2002
Keywords: jewelry
bronze ring set with
a comic mask
Roman, first-second century CE
London, Victoria &
Albert Museum. Credits: Barbara McManus, 2002
Keywords: jewelry, comedy,
drama
gold ring set with
full relief of a bewhiskered comic mask
Roman, first century
CE
London, Victoria & Albert Museum. Credits: Barbara McManus,
2002
Keywords: jewelry, comedy, drama
gold ring set with a
bearded comic mask of an old man
Roman, first century CE
London,
Victoria & Albert Museum. Credits: Barbara McManus, 2002
Keywords:
jewelry, comedy, drama
silver ring with
inscription in reverse lettering
Inscription reads LIBERA VIVAS,
“may you (female) live free”; Roman, third century CE
London,
Victoria & Albert Museum. Credits: Barbara McManus, 2002
Keywords:
jewelry
gold ring set with an
emerald and a sapphire
Roman, fourth-fifth century CE
London,
Victoria & Albert Museum. Credits: Barbara McManus, 2002
Keywords:
jewelry
bronze ring in the form of
an elaborate key
Roman, third century CE or later
London, Victoria
& Albert Museum. Credits: Barbara McManus, 2002
Keywords: jewelry
bronze ring in the form
of a key
Roman, third century CE or later
London, Victoria &
Albert Museum. Credits: Barbara McManus, 2002
Keywords: jewelry
gold bracelet in the
form of a snake
There is a snake's head at each end with carved scales;
Roman, first-second century CE
London, Victoria & Albert Museum.
Credits: Barbara McManus, 2002
Keywords: jewelry
collection of Roman
gold and gemstone jewelry
Roman, first-fourth century CE
London,
Victoria & Albert Museum. Credits: Barbara McManus, 2002
gold pin
(fibula) with 2 winged sphinxes and a lion's head
Greek,
seventh-fifth century BCE
London, Victoria & Albert Museum. Credits:
Barbara McManus, 2002
Keywords: jewelry
gold ring with intaglio
carving of the goddess Hera
She holds her veil in the traditional
“unveiling” gesture of the wife; Greek, fourth century BCE
London,
Victoria & Albert Museum. Credits: Barbara McManus, 2002
Keywords:
jewelry, Juno
detail, Aeneas
rescuing Anchises from Troy
painting by Hendrick van Steenwijck the
Younger (Flemish), c. 1620
Chicago, Art Institute. Credits: Barbara McManus,
2003
Keywords: Vergil, Aeneid, Virgil
Jupiter rebuked by
Venus
painting by Abraham Janssens (Flemish), 1612-13
Chicago, Art
Institute. Credits: Barbara McManus, 2003
Keywords: Vergil, Aeneid,
Virgil, Olympians
Aeneas carries Anchises and leads Ascanius out of Troy (replica)
copy of a wall painting from the Via d'Abbondanza in Pompeii (first century CE)
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2007
Keywords: Vergil, Aeneid, Virgil, fresco
Romulus depicted as Roman general (replica)
copy of a wall painting from the Via d'Abbondanza in Pompeii (first century CE)
Romulus is depicted wearing Roman armor and patrician shoes; he carries a spear and a trophy,
the spolia opima that he had won in the year after Rome's foundation.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2003
Keywords: Vergil, Aeneid, Virgil, fresco
caricature of
Aeneas carrying Anchises and leading Ascanius (replica)
copy of a wall
painting from Campania (first century CE; original in Naples Museum)
EUR
(Rome), Museum of Roman Civilization. Credits: Barbara McManus,
2003
Keywords: Vergil, Aeneid, Virgil, fresco
fresco with wounded Aeneas, House of Siricus in Pompeii, first century CE.
replica of fresco with wounded Aeneas (from Museum of Roman Civilization, EUR, Rome)
Based on Aeneid 12.398ff. Ascanius weeps next to Aeneas while Iapyx tries to pull
the arrow head from his thigh with a forceps. Venus appears with healing herbs in her left hand.
Naples, National Archaeological Museum. Credits: Barbara McManus, 2010, 2003
Keywords: Vergil, Virgil
inscribed base of the statue of Aeneas from the Forum of Augustus (replica)
copy of an original statue base in the Antiquarium of the Forum of Augustus (end first century BCE)
The inscription reads "Aeneas, son of Venus, King of the Latins, ruled for 3 years."
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2003
Keywords: Vergil, Aeneid, Virgil
inscription (elogium) summarizing Aeneas's achievements (replica)
copy of an original found in the building of Eumachia in Pompeii (early first century CE)
This inscription probably reflects the earlier elogium of Aeneas in the Forum of Augustus.
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2003
Keywords: Vergil, Aeneid, Virgil
relief of Aeneas sacrificing the white sow (replica)
copy of an original in the Uffizi
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2003
Keywords: Vergil, Aeneid, Virgil
statue of Marcus
Mettius Epaphroditus (replica)
Larger version
Copy of statue honoring a grammaticus, teacher of Greek (second century CE; original in Palazzo
Altieri)
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2003, 2007
Keywords: education, schoolteacher, school, children
relief of a
teacher and pupils, Roman, from Neumagen, c. 180 CE;
smaller version.
This sandstone relief constituted the right side of a large pillar-style funerary monument; the dedicator was displaying both his wealth and his culture, enabling him to employ a Greek tutor for his three sons. The central panel depicts two older boys seated on either side of their teacher as a younger boy walks into the room. The
boy on the left holds a wooden lectern or portable desk on which is an open scroll. The
teacher appears to be lecturing the second boy, who also holds an open scroll; the teacher's hairstyle and beard suggest that he is a Greek, and his chair has an attached footstool. The
younger boy enter from the right, holding wax tablets bound together by a leather strap; he holds up his hand in greeting but doesn't look especially eager to begin his lessons.
Trier, Rheinisches Landesmuseum. Credits: Barbara McManus, 2013
Keywords: education, schoolteacher, school, children
fragment of side panel from above funerary monument, Roman, from Neumagen, c. 180 CE;
This relief depicts two men in long tunics with sleeves; one man is
writing with a stylus on an open wax tablet (see also
tablet with right section restored).
Trier, Rheinisches Landesmuseum. Credits: Barbara McManus, 2013
Keywords: writing implement, literacy
relief of a
teacher and pupils (replica)
copy of a relief from Neumagen (Roman, end
second century CE)
smaller version
EUR (Rome), Museum of Roman Civilization. Credits:
Barbara McManus, 2003
Keywords: education, schoolteacher, school,
children
marble sarcophagus of a physician, Roman, from necropolis at Ostia, early fourth century CE
The
central panel
(smaller version) of this strigillated
sarcophagus depicts a seated physician reading a scroll in a philosophic pose that emphasizes his learning.
Next to him is a cabinet with more scrolls; on top of the cabinet is an open case containing surgical tools. The Greek inscription, probably indicating the physician's native country, does not give any information
about the deceased but contains a warning not to violate this tomb or attempt to bury anyone else in the
sarcophagus.
New York, Metropolitan Museum of Art. Credits: Barbara McManus, 2013.
Keywords: education, learning; funerary; medicine; profession
reconstruction of a private
library
based on the library at Hadrian's Villa in Tivoli.
single bookshelf;
modern replicas of rolled
scrolls; replica of an
unrolled scroll
EUR (Rome), Museum of Roman Civilization. Credits:
Barbara McManus, 2003
Keywords: education, learning, bibliotheca
scene depicting
flogging in a schoolroom; Roman, first century CE, probably from Asia Minor
This gilt bronze mirror cover draws on Dionysiac symbolism to give
allegorical dimensions to this familiar childhood scene. A Maenad and Cupid
hold a schoolboy over a table, below which lie an open wax tablet and stylus. A
Silenus flogs the boy while another Cupid keeps score on a slate. In a niche on
the wall stands a small statue of Minerva, patroness of learning.
Boston,
Museum of Fine Arts. Credits: Barbara McManus, 2003
Keywords: education,
school, children
funerary altar of a
young boy; Roman, c. 50-70 CE
Inscription reads “To the departed
spirits of Anthus; his father, Lucius Julius Gamus [set this up] for his very
sweet son.” Anthus is shown wearing a toga and holding a scroll, with a
pet dog at his feet.
Boston, Museum of Fine Arts. Credits: Barbara McManus,
2003
Keywords: tombstone, funeral, children
funerary relief of a mother and son; Roman, c. 110-20 CE
The inscription reads
“Petronia Hedone set this up for herself, for her son Lucius Petronius
Philemon, and for her freedmen and freedwomen and their
descendants.”
Boston, Museum of Fine Arts. Credits: Barbara McManus, 2003
Keywords: tombstone, funeral, children
portrait bust of a
young boy; Roman, c. 50 CE
Boston, Museum of Fine Arts. Credits: Barbara
McManus, 2003
Keywords: children
fragmentary green
turquoise cameo depicting Livia and Drusus [?]; Roman, probably shortly
after 9 BCE
another
view
Livia is shown in the guise of Venus Genetrix, with her tunic
slipping off one shoulder. Both she and the smaller male figure wear laurel
wreaths. The male head is probably a bust that she is holding; his face and
hairstyle resemble portraits of her son Drusus, who died in 9 BCE.
Boston,
Museum of Fine Arts. Credits: Barbara McManus, 2003
Keywords: carved
gems
bearded snake
coiled behind shield of Athena Parthenos
detail of “Varvakeion
Athena,” small Roman copy of Pheidias's cult statue of Athena from 5th
century BCE
Athens, National Archaeological Museum. Credits: Barbara
McManus, 2002
Keywords: serpent, Minerva, Acropolis
altar relief
depicting sacrifice of a bull; Roman, first century CE
Altar shows the
bull led to a tripod altar in front of a tetrastyle temple hung with bunting;
the victimarius holds an axe with which to stun the bull before his
throat is cut, while the presiding magistrate, his head veiled, holds out a
patera.
Pompeii Forum, Sanctuary of the Genius of Augustus (Aedes
Genii Augusti). Credits: Barbara McManus, 2003
Keywords: religion
relief depicting
sacrifice of a boar, ram, and bull; Roman, first century CE
This
fragmentary relief of Pentelic marble shows a suovetaurilia, the old
Italian sacrifice of a boar, a ram, and a bull. The veiled magistrate (whose
face has been restored) sprinkles incense on the altar, which is flanked by two
laurel trees, while the attendants lead the animals to be sacrificed.
Paris, Louvre Museum. Credits: Barbara McManus, 1999
Keywords:
religion
statue of a young woman
wearing a peplos; Roman copy of Hellenistic original
detail, head and upper
torso.
Rome, Museo Montemartini (Capitoline Museums). Credits: Barbara
McManus, 2003
Keywords: clothing
Colosseum: exterior
view of top tier; first century CE
Post holders for awning can be
seen.
Rome. Credits: Barbara McManus, 2003
Keywords: city of Rome, arena,
gladiators, munera
Colosseum:
interior view of top tiers; first century CE
Rome. Credits: Barbara
McManus, 2003
Keywords: city of Rome, arena, gladiators, munera
Colosseum:
view of arena looking toward eastern entrance; first century CE
Rome. Credits: Barbara
McManus, 2003
Keywords: city of Rome, arena, gladiators, munera
Colosseum:
interior, brickwork on second tier; first century CE
Rome. Credits:
Barbara McManus, 2003
Keywords: city of Rome, arena, gladiators,
munera
Colosseum:
staircase from lower concentric corridor to cavea; first century
CE
Rome. Credits: Barbara McManus, 2003
Keywords: city of Rome, arena,
gladiators, munera
Colosseum: another
staircase from lower concentric corridor to cavea; first century
CE
Rome. Credits: Barbara McManus, 2003
Keywords: city of Rome, arena,
gladiators, munera
Colosseum:
view of substructures beneath the arena; first century CE
Rome. Credits:
Barbara McManus, 2003
Keywords: city of Rome, arena, gladiators,
munera
bronze owner's stamp (signaculum) of a woman importer of wine and oil; second half of the second century CE;
reversed image so that the letters read in the order that they would appear on the stamped item. The outer circle gives her name in Latin, "[belonging to] Coelia Mascellina, daughter of Gnaeus," while the inner circle, including the three Greek letters in the center, gives her name in Greek; tiny amphorae act as word dividers. Another inscription referring to this woman was found in Rome: "Coelia Mascellina made this for her parents: for . . . [text missing probably containing her mother's name], a woman of incomparable chastity, a businesswoman importing oil and wine from Baetica [in Spain], and for her most devoted father Gnaeus Coelius Masculus" (AE 1973, 71). Hence it seems clear that Coelia Mascellina continued her mother's business.
Rome, Terme Diocleziano (National Museums). Credits: Barbara McManus, 2004
Keywords: trade; women in business
Vergil Reading The Aeneid to Augustus, Octavia, & Livia; painting, 1790-93
by the French painter Jean Baptiste Wicar
Chicago, Art Institute of Chicago. Credits: Barbara McManus, 2003
Keywords: Marcellus
Augustus Listening to the Reading of The Aeneid: "tu Marcellus eris"; painting, c. 1812
by the French painter Jean-Auguste-Dominique Ingres; Octavia faints in Augustus' lap while Livia looks on.
Brussels, Royal Museum of Ancient Art of Belgium. Credits: Barbara McManus, 2003
Sibyl leading Aeneas through the Underworld; painting
by Jan Breughel II (1601-1678)
Brussels, Royal Museum of Ancient Art of Belgium. Credits: Barbara McManus, 2003
Keywords: Aeneid, Vergil
Aeneas and the Sibyl in the Underworld; painting, sixteenth century
This very large painting is attributed to the Leiden artist Jacob Isaacsz van Swanenburgh (1571-1638); its subject is "Aeneas in the Underworld," as shown by these details:
Aeneas and the Sibyl enter Hades;
close-up of monsters at entrance to Hades;
Aeneas and the Sibyl ride on Charon's boat;
detail of Aeneas, Sibyl, Charon.
Brussels, Royal Museum of Ancient Art of Belgium. Credits: Barbara McManus, 2003
Keywords: Aeneid, Vergil
marble "Torlonia" relief; Severan period (190-225 CE)
The relief, probably a votive offering, shows ships docking at Portus, the ancient harbor in Ostia.
The relief was found in the nineteenth century near the villa of the Torlonia family.
A detailed explanation of the images on this relief can be found
here (opens in new window).
Rome, Museo della Via Ostiense. Credits: Barbara McManus, 2004
Keywords: shipping; trade; commerce
detail: right side of "Torlonia" relief; Severan period (190-225 CE)
Moored ship, statue of Bacchus, statue of Neptune, triumphal arch topped with chariot pulled by four elephants.
Rome, Museo della Via Ostiense. Credits: Barbara McManus, 2004
Keywords: shipping; trade; commerce
detail: left side of "Torlonia" relief; Severan period (190-225 CE)
Ship, statue of goddess crowned with lighthouse (personification of Portus), eagle, Nike, lighthouse with fire.
Rome, Museo della Via Ostiense. Credits: Barbara McManus, 2004
Keywords: shipping; trade; commerce
detail: ship on left side of "Torlonia" relief; Severan period (190-225 CE)
detail: prow of ship;
detail: stern of ship (note wine amphoras in hold, people on deck sacrificing, and small boat);
detail: sail of ship (note two images of wolf suckling Romulus and Remus).
Rome, Museo della Via Ostiense. Credits: Barbara McManus, 2004
Keywords: shipping; trade; commerce
detail of a relief from a triumphal arch; Roman, second century CE
larger version
Marcus Aurelius is shown sacrificing before the Temple of Jupiter Optimus Maximus
on the Capitoline; the three doors of the temple lead to three cellae for Jupiter, Juno, and Minerva.
Rome, Palazzo dei Conservatori (Capitoline Museums). Credits: Barbara McManus, 2007
Keywords: religion; emperor; Capitoline Jupiter
large terra-cotta temple lamp; Roman, first century CE
This unusual lamp with two wicks shows the
three Capitoline deities: in the center, Jupiter with eagle; on his left Minerva; on his right, Juno Regina.
Amsterdam, Allard Pierson Museum. Credits: Barbara McManus, 2003
Keywords: religion; Capitoline triad
model of an Etruscan style temple; modern
Amsterdam, Allard Pierson Museum. Credits: Barbara McManus, 2003
Keywords: religion
detail: relief of temple doors; Roman
The relief probably represents bronze doors, elaborately decorated with mythological scenes.
Rome, Vatican Museum. Credits: Barbara McManus, 2003
Keywords: religion
bronze statuette of Zeus hurling thunderbolt; Greek, from Dodona, c. 450 BCE
Athens, National Archaeological Museum. Credits: Barbara McManus, 2002
Keywords: religion; mythology; Jupiter Tonans
bronze statuette of Zeus hurling coiled thunderbolts; Greek, from Corinth, c. 530-520 BCE
Munich, Glyptothek. Credits: Barbara McManus, 2005
Keywords: religion; mythology; Jupiter Tonans
terra-cotta plaque with circus scene; Roman, from Italy, first century CE
The charioteer drives a biga and is just about to round the turning post.
Note the curving stands and the dolphins for counting laps (though only 5 of the 7 are depicted).
Paris, Louvre Museum. Credits: Barbara McManus, 2005
Keywords: sport, chariot race, racing, entertainment
terra-cotta plaque with circus scene; Roman, from Italy, first century CE
The charioteer drives a quadriga and is just about to round the turning post.
He is preceeded by a jubilator on horseback; a man fallen on the track appears about
to be trampled. This detail
shows the elaborate carving on the turning post (meta), while
this detail presents a closer
view of the charioteer and his team.
Paris, Louvre Museum. Credits: Barbara McManus, 2005
Keywords: sport, chariot race, racing, entertainment
model of the Forum of Julius Caesar and the Forum of Augustus; (plastico of fourth century CE city); modern
labelled model
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2003
Keywords: imperial forum; city of Rome; history
labelled plan of the Forum of Augustus; modern
Credits: Barbara McManus, 2005
Keywords: imperial forum; city of Rome; history
relief showing the facade of the Temple of Mars Ultor (replica)
Fragment of a relief from an altar of Claudius;
closer view of temple pediment
EUR (Rome), Museum of Roman Civilization. Credits: Barbara McManus, 2003
Keywords: Forum of Augustus; religion; city of Rome; imperial forum
mummy portrait of a woman, Romano-Egyptian, c. 110-120 CE;
smaller version.
Encaustic on wood portrait; the young woman wears elaborate jewelry.
Edinburgh, Royal Museum (National Museums of Scotland). Credits: Barbara McManus, 2004
Roman theater at Orange; early first century CE
One of the best preserved Roman theaters, with its scaenae frons still standing complete with life-size statue of Augustus;
modern Orange is the ancient city of Arausio.
France, Orange. Credits: Barbara McManus, 2005
Keywords: drama; comedy; tragedy; entertainment
theater at Taormina, Roman, second-third century CE;
smaller version.
View from cavea looking toward orchestra and scaenae frons, with Mt. Etna smoking in the
background; modern Taormina is the ancient city of Tauromenium. The Roman theater was built over an earlier
Greek theater and was expanded to serve as an arena for gladiatorial contests in the third century CE.
Sicily, Taormina. Credits: Dorothy McManus, 2013
Keywords: drama; comedy; tragedy; entertainment
fragmentary relief of gladiatorial scene; Roman, late first century BCE
This relief, from the tomb of a magistrate, celebrates the games he sponsored. A victorious
gladiator looks for signal to kill or spare his defeated opponent. The hand signal on the left
see detail) indicates his life is to be spared
(missio): pollicem premere ("to press the thumb").
Munich, Glyptothek. Credits: Barbara McManus, 2005
Keywords: arena, combat, sport, munus, munera
fragmentary relief of young children playing ball games; Roman, mid-second century CE
detail: boys playing ball;
detail: girls playing ball
Paris, Louvre Museum. Credits: Barbara McManus, 2005
Keywords: childhood
Daphne and Apollo; Venetian plate (16th century)
Glasgow, Kelvingrove Museum. Credits: Susan Bonvallet, 1999
Keywords: Ovid, Metamorphoses
bronze figurine of a lictor; Roman, first century CE
The lictor carries the bundled rods (fasces) that are symbolic of the authority of the Roman magistrate whom he accompanied. These rods are shown without an axe, indicating that the lictor is within the sacred boundary (pomerium) of the city of Rome.
Chicago, Art Institute of Chicago. Credits: Barbara McManus, 2008
Keywords: magistrate's attendant
fragmentary grave stele of a priestess of Isis, Hadrianic period (117-138 CE);
smaller version.
The stele, made of Pentelic marble, was found in the Kerameikos cemetery in Athens. The Greek inscription indicates that the deceased woman was named Alexandra, the wife of Ktetos. Her mantle is tied with the characteristic knot of Isis, and she holds the ritual bucket (situla) in her left hand.
Athens, National Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: religion
gold ring with the heads of Isis and Serapis; Roman, made in Egypt, first century BCE - first century CE
The infant Harpocrates appears between the heads of the two deities.
London, British Museum. Credits: Barbara McManus, 2006
Keywords: jewelry; religion
gold ring with snake-bodied busts of Isis and Serapis; Roman, made in Egypt, first century BCE - first century CE
The heads of each deity appear on opposite ends of the snake-like ring.
London, British Museum. Credits: Barbara McManus, 2006
Keywords: jewelry; religion
marble statue of Serapis; Roman, from the colonnaded street in Perge, second century CE
The god is seated on a throne in the manner of Jupiter, with a long scepter (now lost) in his left hand. On his head he wears a
grain measure (modius). A lion or sphinx (head lost) is shown by his right leg.
Antalya, Turkey, Antalya Museum. Credits: Barbara McManus, 2007
Keywords: religion
bronze figurine of a bearded snake, Roman, first century CE;
smaller version;
detail, head.
Protective deities were often represented in the form of bearded serpents; this figurine may have been from a household shrine (lararium).
London, British Museum. Credits: Barbara McManus, 1999
Keywords: domestic religion
bronze terminal figurine of Priapus, Roman, first-second century CE;
smaller version.
The statuette depicts the ithyphallic fertility god Priapus, protector of livestock, fruit plants, gardens and male genitalia.
London, British Museum. Credits: Barbara McManus, 2006
Keywords: domestic religion
bronze lamp depicting Luna, Roman, first century CE;
smaller version;
statuette with background of night sky.
The statuette depicts the moon-goddess, Luna or Selene, in a chariot drawn by bulls.
London, British Museum. Credits: Barbara McManus, 2006
Keywords: religion, Diana
white-ground cup (kylix) depicting Hera, Greek, c. 470 BCE
Painted by the Sabouroff Painter, the cup shows the
goddess wrapped in an embroidered mantle, wearing a crown and holding a long scepter. This
detail shows the delicate rendering of her long, curly hair.
Munich, Antikensammlung. Credits: Barbara McManus, 2005
Keywords: Juno
silver relief of woman with snake, Greek, fourth century BCE
This was one of 4 silver reliefs, which were originaly part of bowls, found in the Iranian city Nihawand near Isfahan. The woman fleeing a snake may represent Eurydice, the wife of Orpheus who was killed by the bite of a snake and almost rescued from the Underworld by the power of her husband's music.
Munich, Antikensammlung. Credits: Barbara McManus, 2005
Keywords: mythlogy
top of an elaborate gold wreath, Greek, from Armento in southern Italy, 370-360 BCE
The centerpiece of this beautifully executed wreath or crown, made for a dead person, shows a
winged goddess standing on a base with an inscription that states "Krethonios has given the gold for the crown." The
goddess wears a crown and necklace and holds a libation bowl (phiale) in her left hand. Amid the lavish foliage are scattered
figures of Erotes.
Munich, Antikensammlung. Credits: Barbara McManus, 2005
Keywords: jewelry, adornment; funerary
terracotta statuette of a woman nursing an infant, Roman, second century CE;
smaller version.
Found near the military camp in Pförring, Bavaria, this was probably a votive offering in hope of (or thanksgiving for) a successful childbirth (see
detail of mother and baby).
Munich, Archäologische Staatssammlung. Credits: Barbara McManus, 2005
Keywords: family, children, breastfeeding
marble statue group of Bacchus and Spes, Roman, Augustan or Julio-Claudian, c. 27-68 CE
The god of wine leans on an archaizing statue of the
allegorical goddess Spes (Hope), who has a high headdress and long sausage curls; she holds a flower in her right hand and lifts up the side of her tunic with her left hand, as shown on
coins. The group has extensive restorations by the eighteenth-century Italian sculptor Vincenzo Pacetti--the legs, feet, neck, and arms of Bacchus and and the feet and arms of Spes; the head of Bacchus is ancient but does not belong to this statue group.
New York, Metropolitan Museum of Art. Credits: Barbara McManus, 2012
Keywords: Dionysus
statue group of Bacchus and Spes, Roman, second century CE
The god holds grapes in his left hand and a thyrsus in his left. He leans on a small statue of the allegorical goddess Spes (Hope) who holds a flower in her right hand and lifts a fold of her garment with her left hand.
St. Petersburg, Hermitage Museum. Credits: Barbara McManus, 1988
Keywords: Dionysus; myth
sardonyx cameo with Dionysiac scene, Hellenistic Greek or early imperial Roman, first century BCE - first century CE;
smaller version.
A reclining maenad nurses a baby leopard while another maenad with flowing veil holds a tambourine. On the left a naked satyr grasps the leopard's tail. Below are Dionysiac symbols--castanets, a wine cup, and a tambourine.
New York, Metropolitan Museum of Art. Credits: Barbara McManus, 2012
Keywords: Dionysus, Bacchus
sardonyx cameo with Aurora, Hellenistic Greek or early imperial Roman, first century BCE - first century CE;
smaller version.
Aurora, the goddess of the dawn, drives a two-horse chariot through the sky.
New York, Metropolitan Museum of Art. Credits: Barbara McManus, 2012
Keywords: Eos
sardonyx cameo of Augustus, Roman, c. 27-BCE-14 CE;
smaller version.
A small
portrait of Augustus wearing a laurel-leaf crown is suspended between the horns of two goats, representing the constellation Capricorn. The cameo is set as a medallion with an ancient gold mounting. Capricorn was the emperor's favorite astrological sign, frequently depicted on
coins.
New York, Metropolitan Museum of Art. Credits: Barbara McManus, 2012
Keywords: gem, jewelry; imperial symbolism
gold seal ring with carnelian intaglio, Roman, third century CE
The carved stone on the ring depicts a man with a whip, probably a trainer, standing before a charging bear; inscribed are two names, DERISOR and LEVCADIA. The scene is clearer on the
impression made when the ring is stamped (see
impression reversed so names can be read).
New York, Metropolitan Museum of Art. Credits: Barbara McManus, 2012
Keywords: gem, jewelry; sports, arena; animal
glass flask in the shape of a fish, Roman, third century CE
New York, Metropolitan Museum of Art. Credits: Barbara McManus, 2012
Keywords: drinking vessel
bronze parade mask, Roman, second century CE;
side view.
These masks were worn by auxiliary cavalrymen during processions; there were holes on the side for fastening the masks with leather thongs. This mask depicts a female whose long hair is tied with a diadem, partly visible on her forehead; she may represent an Amazon.
New York, Metropolitan Museum of Art. Credits: Barbara McManus, 2012
Keywords: military
drawing of two auxiliary cavalrymen in parade dress, modern
Both auxiliaries are shown with
bronze parade masks like the one above, and the mounted cavalryman also carries a
draco, a kind of wind sock beginning with the head of a dragon.
London, British Museum. Credits: Barbara McManus, 2001
Keywords: military
circular cella of the Temple of Mercury, Forum, Thuburbo Maius (ancient Thuburnica) in Tunisia, erected 211-217 CE
The temple was paid for by Lucilia Cale, a priestess (flaminica) of the colony, in fulfullment of a
vow. It was dedicated to Mercury Sobrius, the Genius of Sesasa (a town in the vicinity), and Pantheus
Augustus, for the health and safety of the reigning emperor, Caracalla, and his mother, Julia Domna.
Thuburbo Maius, Tunisia. Credits: Barbara McManus, 2010
Keywords: women patrons, priestesses; Africa
fragment of the cornice of the Temple of Mercury, Forum, Thuburbo Maius (ancient Thuburnica) in Tunisia, erected 211-217 CE
The cornice fragment, laid upside down, belongs to the Corinthian order, with egg-and-dart and acanthus leaf motifs.
Thuburbo Maius, Tunisia. Credits: Barbara McManus, 2010
Keywords: women patrons, priestesses; Africa; architecture
marble bust of Livia, Roman, first century CE;
side view.
The empress is shown as an older woman, with her characterisztic nodus hairstyle.
Ephesus, Turkey, Ephesus Museum. Credits: Barbara McManus, 2007
marble bust of Tiberius, Roman, first century CE;
In this youthful idealized portrait, found with the bust of Livia shown above, Tiberius wears a military cloak and a cuirass with a Medusa head.
Ephesus, Turkey, Ephesus Museum. Credits: Barbara McManus, 2007
marble bust of Tiberius, Roman, 4-14 CE;
side view.
This idealized portrait was apparently commissioned to commemorate the adoption of Tiberius by Augustus.
London, British Museum. Credits: Barbara McManus, 2008
sarcophagus of Claudia Arria, Roman, from Ostia, c. 220 CE;
smaller version.
According to the
inscription, Aninia Hilara purchased the sarcophagus for her mother,
Claudia Arria (with a hairstyle imitating that of the empress Julia Domna), who lived 50 years
and 10 months: ANINIA HILARA CL[audiae] ARRIAE MA[t]RI LNCONPARABILE FECIT VIXIT ANN[is] L MEN[sibus] X.
The sarcophagus imitates a oval vat for treading grapes to make wine (lenos) with rounded sides and two large
lion heads at each end whose mouths would be spouts for the liquid on a real lenos.
New York, Metropolitan Museum of Art. Credits: Barbara McManus, 2012
Keywords: funerary; family; mythology
view from right, sarcophagus of Claudia Arria, Roman, from Ostia, c. 220 CE;
smaller version.
The sarcophagus is beautifully carved in high relief, depicting the myth of
Selene and Endymion; note that all
the motion flows from left to right and most figures face right. The moon-goddess Selene (Luna) fell in love
with the handsome shepherd Endymion; she granted him eternal sleep before taking him as her lover. The
sarcophagus depicts
Selene descending from her
chariot toward the reclining Endymion, as the allegorical
personification of Sleep, holding poppies, pours a sleep potion over him. Behind Selene a
winged female who may represent her
sister Aurora (Eos, Dawn) holds her horses, whose hooves trample a reclining grain-crowned female with snake, representing the earth.
New York, Metropolitan Museum of Art. Credits: Barbara McManus, 2012
Keywords: funerary; family; mythology
panels on lid of sarcophagus
of Claudia Arria, Roman, from Ostia, c. 220 CE
These small raised panels are symmetrically arranged, and their imagery dialogues with that of the body of
the sarcophagus. The
two panels on the far left depict
a naked male figure seated on a rock with vegetation and a large cat and a Cupid with flowers, a dog and a
theater mask; the
two panels on the far right show a
clothed man seated on a rock with animals and a Cupid with fruits and a panther—these contain both
seasonal and Dionysiac imagery.
Cupid and Psyche are shown on the third panel from the left, but unlike the
tenderly embracing lovers on the
sarcophagus itself, here Cupid turns his face away from Psyche, holds up his hand in a gesture of rejection,
and points his torch downward, perhaps reflecting the god's anger at Psyche when she doubts his immortality in the story as told in Apuleius' Metamorphoses. The
third panel from the right depicts Venus seated on a mountain with Cupid clinging to her arm and Psyche falling down the side of the
cliff, perhaps illustrating another scene from Apuleius where Venus imposes various labors to test Psyche.
The fourth panels from each side depict another pair of lovers,
Mars and
Venus, while the panel corresponding to the portrait of Claudia Arria again portrays
Selene and Endymion, this time in a scene later than that on the body of the sarcophagus, as the goddess lovingly clasps Endymion's face and leans forward to kiss him (note that his eyes are closed in sleep).
New York, Metropolitan Museum of Art. Credits: Barbara McManus, 2012
Keywords: funerary; family; mythology
left side, sarcophagus of Claudia Arria, Roman, from Ostia, c. 220 CE;
smaller version.
On the left side, the
sun god Helios drives his chariot over a reclining male figure representing the ocean, with a rising motion indicated by the Cupid leading the chariot with upward-pointing torch. On the right side
(smaller version), the
moon-goddess Luna drives her
chariot over another reclining female figure representing the earth, with a descending motion indicated by the Cupid leading the chariot with downward-pointing torch.
New York, Metropolitan Museum of Art. Credits: Barbara McManus, 2012
Keywords: funerary; family; mythology
back of sarcophagus of Claudia Arria, Roman, from Ostia, c. 220 CE;
smaller version.
Unusally, the back of this sarcophagus is also carved, though in lower relief and with less detail. The scene
is pastoral, with shepherds, a sheep, cattle, horses, and a dog.
New York, Metropolitan Museum of Art. Credits: Barbara McManus, 2012
Keywords: funerary; family; mythology
Go to Index, Part I, Part II, Part III, Part IV, Part V, Part VI, Part VII, Part IX, Part X, Part XI, Part XII, Part XIII, Part XIV, Part XV, Roman Coins: Republic and Principate, Roman Coins: Empire, Greek Coins, Coins from the Museum of Cultural History, University of Oslo, Coins from the National Museum in Warsaw, Poland, Coins from the Hunterian Museum
revised October, 2013
![fragmentary green turquoise cameo depicting Livia and Drusus [?]](http://www.vroma.org/images/mcmanus_images/livia_tibcameo2.jpg){kind=link}
