Gipsoteca Università di Roma La Sapienza

The hair, tied with a ribbon around the expressive face, forms two rows of shell-like curls; at back it is gathered and tied, leaving the nape exposed. The anatomical details are rendered with a certain plasticity. Inscriptions (in two hexameters) on the thighs indicate that this kouros was dedicated to "the god of the silver bow" (Apollo) by Pythias (of Akraiphia?) and Aiskhrion. Source Nikolaos Kaltsas, “Sculpture in the National Archaeological Museum, Athens” Parian marble statue Height 103 cm Late archaic period 500 BC From the Apollo’s Sanctuary on Mount Ptoon, Boeotia, Athens, National Archaeological Museum, No Inv. 20 x

Galleria Romanelli Fauno Torso Bronze Sculpture USD 10,535 Ready to ship Add to bag Free shipping Ask for more info This bust is part of a limited edition of only 6 pieces created in 2011 from an original model by the sculptor Raffaello Romanelli. Inspired by the famous Torso Gaddi displayed in the Classical Sculpture Room of the Uffizi Museums in Florence, this sculpture puts the emphasis on the study of anatomy and muscles. The particular pose, called "contrapposto", inspired some of the greatest artists of the Renaissance, in particular Michelangelo.Read More Handcrafted in Italy Ready to ship Free shipping to United States Product Details MaterialBronzeDimensions (in)W 9.75 x D 5.85 x H 13.65Product referenceROMAFI-017FTearsheetDownload Buy with confidence Worldwide Shipping. Find out our Shipping Options Expert Design Advice at your Service Best Price Guaranteed. Read about our Buyer Protection Program 14 Days Returns. Read our Returns Policy

Musei Capitolini - Palazzo Nuovo - Galleria

Livia Augusta’s official portraits dating from the Principatus’ time, are easily recognizable for her hairstyle: a roll of hair ("nodus," in Latin) over her forehead, with a little bun at the nape of the neck and a short central braid. That hairstyle was highly fashionable from the mid-first century BC. This portrait shows the young Livia Drusilla. Her hairstyle is completely different. As the goddess Ceres she is wearing a wreath of ears. After Livia’s death in AD 29, this iconography equating Livia to Ceres, symbol of fertility and richness, was beloved by the Julio-Claudian emperors. In the eighteenth century the head was joined to an ancient statue. Roman Marble Portrait About AD 50 Paris, Musée du Louvre

Julia the Elder [39 BC – 14 AD] Augustus’ daughter by Scribonia, and his only child. Roman portrait H. 37,3 cm; head 20,7 cm Ca. 12 BC From Bézier, Toulose, Musée Archéologique de Toulose Exhibition: “Ovidio: Loves, Myths & Other Stories” Scuderie del Quirinale, Rome

Marcus Iulius Philippus; Philippopolis (Shahba, Syria), 204 ca. – Verona, 249 AD Rome, New Wing, Museo Chiaramonti, Vatican Museums

Livia Augusta’s official portraits dating from the Principatus’ time, are easily recognizable for her hairstyle: a roll of hair ("nodus," in Latin) over her forehead, with a little bun at the nape of the neck and a short central braid. That hairstyle was highly fashionable from the mid-first century BC. This portrait shows the young Livia Drusilla. Her hairstyle is completely different. As the goddess Ceres she is wearing a wreath of ears. After Livia’s death in AD 29, this iconography equating Livia to Ceres, symbol of fertility and richness, was the most beloved by the Julio-Claudian emperors. In the eighteenth century the head was joined to an ancient statue. Roman Marble Portrait About AD 50 Paris, Musée du Louvre

This head worked for insertion, and depicting a youthful Nero, is classified as a Nero’s portrait Type III or accession portrait. Close study of Nero's portraiture on coins and in sculptured replicas reveals the creation of five separate portrait types datable to the years A.D. 51, 54, 55, 59 and 64. The first three portrait types, which all bear the same coiffure pattern and to which a total of fifteen replicas are attributed, can be associated with the successive events of Nero's adoption in A.D. 50, his tenure as heir apparent from A.D. 51 to 54, and his accession in AD. 54. The so-called portrait Type III, the accession portrait, is the best defined and most widely represented type, used to portray the young emperor until A.D. 59. Source Hiesinger U.W., “The Portraits of Nero”, in Am. J. of Archaeology , Vol. 79, N.2, (1975), pp 113-124) Roman marble portrait About 54-59 AD From Olbia, Sardinia Cagliari Archaeological Museum

Roma Antiquarium del Palatino

Augustus’ bust portrait identified as "Prima Porta" type. This type of portrait of the first Roman emperor, Augustus Caesar – born Gaius Octavius – [63 B.C.-14 A.D.], was the best and most widely known. It corresponds to the "Prima Porta" type, which was created as an expression of the virtues of humanity and responsibility characteristic of a good prince and first citizen. It was very often employed in effigies of the Emperor. It was created around 27 B.C., when Gaius Octavius Caesar received the title of Augustus from the Roman Senate. With a relaxed expression, a firm gaze and smooth and very ordered hair, this portrait transmits an air of sublime tranquility. This head, in particular, should be dated in the epoch of Emperor Tiberius (14-37 A.D.). Source: Museum notice Marble bust Portrait Height 67 cm. Approx. 14 – 37 Madrid, Museo del Prado

Bust portrait of Salonia Matidia (4 VII 68 – 23 XII 119). Salonia Matidia was the daughter of Ulpia Marcian, and the nice of the emperor Trajan. She was the mother of in law of the emperor Hadrian who married with a daughter Vibia Sabina. Marble sculpture Rome 120 AD; London, The British Museum

Antinous portrayed as the hero Androklos, mythical founder and first king of Ephesus. Statue was discovered in 1927 in Ephesos Gymnasium by the Austrian team who was excavating the site since 1895. Technical considerations date the statue ca. 150 AC. It is supposed to represent Androklos, a mythological hunter. Roman Sculpture Ca. 138 -161 AD From Ephesus Izmir, Archaeological Museum

Marble Hellenistic or Roman copying a Greek original. Royal Ontario Museum Toronto Ontario It's fascinating, comparing ancient, Eastern (Chinese) with Western (Greek, Roman), art. This sculpture of Venus (Aphrodite) is quite a contrast to Buddhist art of Asia. There is one exception, the Buddhist art of Ghandara (Bactria) was heavily influenced by Greek art after Alexander the Great's invasion. Existing copies of the Venus type always show the goddess draped in "transparent" garments, a sculptural style popular toward the end of the 5th century BC

Late antique portrait depicting a wealthy Roman woman Marble portrait 4th century AD Patras, Archaeological Museum

Roman Gallery, Altes Museum, Berlin, Germany. Complete indexed photo collection at WorldHistoryPics.com.

26 juin 2019 Avignon, rue de la république, Musée Lapidaire (Musée Calvet), Drunsus le jeune, fils de l'Empereur Tibère - 1er s ap.JC, provenance Avignon

Musei Capitolini - Palazzo Nuovo - Galleria

Agrippa Postumus was born by Julia, the daughter of Augustus in 12 BC, after the death of his father M. Vipsanius Agrippa. Augustus adopted him together with Tiberius in 4 AD. On account of his savage and intractable character, he was afterwards banished by Augustus to Pianosa , a remote island in the Tuscany archipelago; but he was not guilty of any crime. A senatus consultum confirmed legally his banishment for the time of his life. The most serious fault of Agrippa was that he, as only direct male heir of Augustus [see in Stemma Julia Gens N. 3.5], was a serious impediment for the succession of Tiberius. Livia, wife of Augustus and mother of Tiberius, was probably behind the decisions taken by the emperor against Agrippa. After the succession of Tiberius, in 14 AD, a centurion murdered Agrippa. Tiberius denied having given any order for it, and it is very probable that Livia was the secret instigator of the crime. This fine portrait of he last Augustus’ grandson is carved on the basis of an iconographic model created in 4 DC after its adoption by Augustus. Another image here Basanite roman sculpture About 4/5 BC Paris, Musée du Louvre

Musei Capitolini - Palazzo Nuovo - Stanzette

Julia Domna (Iulia Domna; Emesa (Homs, Syria), c. 170 – 217 AD). Wife of Septimius Severus. This size-life statue shows the empress Julia Domna portrayed as priestess of the Goddess Isis. Roman marble portrait About 193 – 211 AD Paris, Musée du Louvre

Epoque d'Hadrien (117-138) Provenance : Italica, Musée archéologique, Séville

Phidias(?), Parthenon sculptures frieze: 438-432 B.C.E. pediment: c. 438-432 B.C.E. metopes: c. 447-32 B.C.E. Learn More on Smarthistory

Roman Gallery, Altes Museum, Berlin, Germany. Complete indexed photo collection at WorldHistoryPics.com.

Presumed portrait of the emperor Claudius; the head is inserted on a non pertinent but antique bust. The buckle is modern. Because of the raw rendering of the face features and the poor artistic value of the portrait, the identification with Claudio is somewhat controversial. For many scholars, this sculpture would represent an anonymous character; the sculpture would be a plain work commissioned to a low quality laboratory by a private citizen. Source:Guido A. Mansuelli, “Galleria degli Uffizi – Le Sculture”, Vol II, inset # 57. Italic marble sculpture H. 71 cm; First half of the 1st century AD. Florence, Galleria degli Uffizi, Inv. N. 97

Three heads of helmeted warriors (from left Inv. # 1935, 1936). It was originally believed that they come from the temple pediments; it seems, however, that they belong to compositions with heroes’ heads that were offering to the Temple of Aphaia in the Greek Island of Aegina. Head # 1935 (H. 31 cm - 490 BC). The nose, lobes of ears and the front of the helmet are all broken. Wavy tresses of hair can be made out on the forehead and temples, while the hair on the nape is wound around a ribbon and gathered inside the helmet. Head #1936 (H. 30 cm – 480 BC). The nose, mouth, eyes are broken. The entire surface is corroded and badly flacked. The warrior wears a Corinthian helmet, raised up from the face. A row of delicate tresses protrudes on to his forehead and temples, and the hair on the nape is wound around a ribbon and gathered inside the helmet. Source Nikolaos Kaltsas, “Sculpture in the National Archaeological Museum, Athens” Marble sculpture Late Archaic period 590 – 480 BC From Aphaia Santuary, Aegina Athens, National Archaeological Museum – INV Nr 1935, 1936

140-145, Provenance : Italica, Musée archéologique, Séville

222-235, Marbre, Provenance : Temple rond d'Ostia Antica, Musée National Romain, Palazzo Massimo alle Terme, Rome

Roma Musei Capitolini Palazzo dei Conservatori Sala degli Horti di Mecenate

Julia the Elder [39 BC – 14 AD] Augustus’ daughter by Scribonia, and his only child. Roman portrait H. 37,3 cm; head 20,7 cm Ca. 12 BC From Bézier, Toulose, Musée Archéologique de Toulose Exhibition: “Ovidio: Loves, Myths & Other Stories” Scuderie del Quirinale, Rome

Explore antonskrobotov's 70778 photos on Flickr!

This Julio-Claudian portrait could represent Drusus the Elder or, more probably, the emperor Claudius from a former Caligula’s portrait reworked after his “damnatio memoriae”. Marble head Height 37 cm From Nim (Aenona), Croatia. First half of I sec. AD Aquileia, Museo Archeologico Nazionale

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Pluto is depicted as the Egyptiam deities Serapis, who was worshiped in the Greek word from the Hellenistic period onwards. Pluto-Serapis has the “modius” on his head, an utensil used for the measurement of grain. This is a typical example of syncretism, namely the mingling and integration of beliefs from different religions during Hellenistic and Roman times. Statue belonging to a sculptural group found in the Temple of Egyptian Deities in Gortyna. Marble roman sculpture From Gortyna Mid. 2nd cent. AD Heraklion, Archaeological Museum

Roma Musei Capitolini Palazzo dei Conservatori Galleria degli Horti Lamiani

Anonymous portrait reported as the so-called Gallienus. Since the eighteenth century, the date of the first cataloging of this head in the Medici collections, this head was erroneously identified as Gallienus. Its dating is problematic but, with reference of the certain iconography, every reference to the emperor Gallienus (253 – 268 AD) must be discarded. Some scholars propose a previous date by collocating this sculpture in the Trajan reign (98 – 117 AD). The hairstyle of the character here portrayed is compatible with that of the models in vogue during the reign of Augustus and Claudius. The plain structure of the composition, its modeling and the rendering of the facial features suggest, however, a date between the first and second decade of the first century AD. Source:Guido A. Mansuelli, “Galleria degli Uffizi – Le Sculture”, Vol II, inset # 44. Italic marble sculpture H. 65 cm; height of the antique head 16 cm. First half of the 1st century AD. Florence, Galleria degli Uffizi, Inv. N. 266

Julia Domna (Iulia Domna; Emesa (Homs, Syria), c. 170 – 217 AD). Wife of Septimius Severus. Official portrait of the Empress Julia Domna. Behind Julia, her husband Septimius Severus. Julia was from a Syrian family. She was the youngest daughter of the high-priest Gaius Julius Bassianus and her eldest sister was Julia Maesa. In the late 180s, Julia married future Emperor Septimius Severus. They had two sons, Lucius Septimius Bassianus (Caracalla) in 188 and Publius Septimius Geta in 189. Roman marble portrait 193 AD Paris, Musée du Louvre

Musei Capitolini - Palazzo Nuovo - Sala del Galata

69, Marbre, 40 cm x 27 cm x 27 cm, Musée de l'Académie royale des Beaux-Arts San Fernando, Madrid

Marcus Antonius Gordianus Pius; Roma, 20 I 225 – Circesium(*), 11 febbraio 244) Roma Musei Capitolini (*) Buseira, Syria

Head of an athlete wearing a “taenia”; the head was originally part of a full-length statue but was added to a modern bust by its restoer. The head is either modeled on a Greek original of about 470 - 460 BC or is a new Roman creation in a Classicising style. (Source Museum WEB Site) Roman marble sculpture 1st century BC or AD London, The British Museum