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IMAGE GALLERY
A wall painting showing a woman sitting side on on a stool. In her right hand she holds a hand-held circular mirror. Her left hand holds up a tress of hair. She is nude to the waist and has a garment wrapped around her legs.
This fresco of a woman holding a hand mirror is from the Villa of Arianna at Stabiae, near Pompeii.
A photo of a Roman paved road with large stone slabs still in place. Along it stand walls and small structures that only partly remain. One has a big arch at the front.
The Via delle Tombe (Street of Tombs) in Pompeii. Romans buried their dead outside the city walls, along the roads in and out of the city. These were busy thoroughfares, and funerary inscriptions sometimes directly address those who passed by.
A photo of three large pyramids standing in a flat sandy desert against a blue sky.
A photo of three large pyramids standing in a flat sandy desert against a blue sky.
A photo of a circular buidling standing on the edge of a river next to an arched bridge. The mausoleum of Hadrian.
A slab of stone that has been crudely inscribed with capital letters. This marble funerary inscription was set up by Satria Epicharis for Antoninus, an enslaved boy in her household, who died aged twelve.
A lifesize marble sculpture of a young girl reclining on a couch. her hair is tied behind her head and she wears a long dress. A funerary sculpture of a young girl, from the second century ad.
A cylindrical stone which has been carved with decorative rings and a patter of basic flowers above halfway down. This cippus is from Cyprus and is made from limestone. The inscription is in Greek and says: ‘Good Artemidoros Kynegos, farewell’.
A painting in muted colors with gold leaf highlights which shows a crowd of people on the banks of the rive on the left. In the center is a river in which three women are swimming from left to right, and on the right a woman enters an arched red gate of a town. On this wooden panel, events from the story of Cloelia are depicted in chronological order from left to right. The panel, which was once the front of a chest, was painted by Guidoccio di Giovanni Cozzarelli in around 1480.
A side-on view of a statue of a horse with one front leg raised. Atop the horse is a young man wearing a flowing cloak. In his left hand he holds the reins, and he lifts his right arm in front of himself. Equestrian statues, such as this one, were erected to honor and commemorate victorious generals, political figures, generous benefactors, and later the emperor and his family members. This statue is made of marble. Equestrian statues were also made in bronze, although only one of these survives (a statue of Emperor Marcus Aurelius), as the others were melted down for reuse.
The man depicted in this statue is Marcus Nonius Balbus. Statues dedicated to both himself and his father, of the same name, were erected in Herculaneum. His father had endowed Herculaneum with various public buildings, and paid to rebuild the basilica after the earthquake in ad 62. For his generosity he had been named a patron of the city, and statues of him and his family members were put up at public expense.
A metal form in the shape of a stylized face with a wide smiling mouth ad deep curved eyebrows. Below the head protudes a piece of metal with a curcular hole. This bronze oil lamp is decorated with a comic mask. The furrowed brow and wide mouth are typical features of the masks worn by actors in Greek and Roman comic theater.
Masks and other theatrical imagery were a popular choice for Roman decoration and ornaments, from frescoes to ceramics and silverware.
A marble bust of a man with a receding hairline and creased brow, on a black background. This life-sized marble bust, found in the Rhône River, is thought to be a portrait of Julius Caesar.
A circular shiny, silver disc with concentric circles engraved on the surface. Around the edge is a simple pattern and the bottom has a thin handle. The surface of this silver mirror is slightly convex. It would have been polished to provide a clear reflection.
Two thin stick with pointed ends. On the other end one has a rounded ball, and the other a carved animal figure. Two hairpins, one made of bone and the other of ivory.
An elongated tube with two passages. It has a shiny and multicolored surface. On either side are thin wiggly handles. This glass container was probably used to hold cosmetics. It has two separate tubes; a bronze rod for applying the makeup still remains in one of them. It is from the third or fourth century ad.
A stone relief showing a woma and a man side by side. the woman has her hair styled in plaits around her head. The man has a beard and wears a toga. A funerary relief of a husband and wife.
A stone relief showing a woman in elaborate clothes with a headband, earrings, and a necklace. She wears a fabric veil over her head. A funerary monument from Palmyra.
A wooden panel painted with the portrait of a woman with her hair plaited on topof her head. She has dark, defined eyebrows and wears earrings and a necklace. A painted portrait of a woman from Egypt.
A painting showing a woman wearing a purple dress, with one breast exposed, sitting with the head of a dead boar on her lap. On the right stands a bare-chested man with a blue cloak who is petting a dog. Behind them are two figures, one blowing a horn. This painting illustrates the story of Atalanta and Meleager from Book 8 of Ovid’s ‘Metamorphoses’. It was painted by Rubens around 1616.
A marble statue of a man who is bare to the waist down with a muscular physique. He is holding a cloak around his waist and leaning against a short pillar. His right arm and leg are missing, as is his left hand and the top of his head. He has a stern face with a creased brow. This marble statue, known as the ‘Tivoli General‘, is from the first century bc. It has been damaged and the top part of the head and some limbs are missing. The stone pillar that supports the statue is decorated to look like a breastplate.
The marble carved head of a young man. His hair is set in curls along his forehead and he has a youthful clear face. Portrait of Emperor Caligula.
The same portrait of a young man painted in realistic colors. He has brown hair and hazel eyes. Sculptures in the ancient world were brightly painted. This copy of a marble head of Emperor Caligula has been colored, based on scientific research of the pigment traces and shadows left on the marble, to give an idea of how it may have originally looked.
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