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THOMAS ROTHERHAM, ARCHBISHOP OF YORK
Thomas Rotherham, also known as Thomas (Scot) de Rotherham, was an English cleric and statesman. He served as bishop of several dioceses, most notably as Archbishop of York and, on two occasions as Lord Chancellor. Rotherham was educated at King's College, Cambridge, he graduated as a Bachelor of Divinity and became a Fellow of his college where he lectured on Grammar, Theology, and Philosophy. After his ordination as a priest, he became a prebendary of Lincoln in 1462 and then of Salisbury in 1465. He moved on to powerful positions in the Church, being appointed as Bishop of Rochester in 1468, Bishop of Lincoln in 1472, and then Archbishop of York in 1480, a position he held until his death in 1500.
In 1467, King Edward IV appointed Rotherham as Keeper of the Privy Seal. He was sent as ambassador to France in 1468 and as joint ambassador to Burgundy in 1471, and in 1475 was entrusted with the office of Lord Chancellor. When Edward IV died in April 1483, Rotherham was one of the celebrants of the funeral mass on 20th April 1483 and immediately after Edward's death he sided with the dowager queen, Elizabeth Woodville, in her attempt to deprive Richard, Duke of Gloucester of his role as Lord Protector of her son, the new King Edward V. When Elizabeth sought sanctuary after Richard had taken charge of the king, Rotherham released the Great Seal to her (though he later recovered it and handed it over to Thomas Bourchier, the Archbishop of Canterbury).
Rotherham's mishandling of the seal was perceived as indicative of questionable loyalty and led to his dismissal as Lord Chancellor. He was replaced by John Russell, who earlier had also been his successor as Bishop of Lincoln. On 13th June 1483, Rotherham was charged with being involved in a conspiracy between Lord Hastings and the Woodvilles against Richard and imprisoned in the Tower of London, but he was released a few weeks later, around the middle of July, after Richard's coronation as King Richard III. Rotherham was re-instated as Chancellor in 1485, however he was dismissed shortly afterwards by Henry VII and retired from public work.
Rotherham died of the plague in Cawood near York on 29th May 1500. His remains were transferred to a magnificent marble tomb in York Minster in 1506.*Alex
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Vespasian, 1 July 69 - 24 June 79 A.D.
SH110254. Silver denarius, RIC II-1 1431; RSC II 276; RPC II 833; BnF III 351; BMCRE II 457, SRCV I 2270, Choice EF, well centered, excellent portrait, light toning, slight double strike, 3.326g, 18.3mm, 180o, Ephesus mint, IMP CAESAR VESPAS AVG COS III TR P P P, laureate head right; reverse PACI AVGVSTAE, Victory advancing right, wreath in extended right hand, palm frond over left shoulder in left hand, EPHE (PHE ligate) lower right; ex Inasta (San Marino) auction 100 (24 Jun 2022), lot 212 Ex: Forum Ancient Coins.
Ephesus peaked during the 1st and 2nd century A.D. when it was second in importance and size only to Rome, with a population estimated at 400,000 to 500,000 in 100 A.D. The city was famous for the Temple of Artemis, the Library of Celsus, and its theater, seating 25,000 spectators. Ephesus also had several large bath complexes and one of the most advanced aqueduct systems in the ancient world. Water powered numerous mills, one of which has been identified as a sawmill for marble. The city and temple were destroyed by the Goths in 263 A.D., marking the decline of the city's splendor.paul1888
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177 - 192, COMMODUS, AE Sestertius, Struck 185 at Rome, alluding to BritanniaObverse: M COMMODVS ANTON AVG PIVS BRIT, laureate head of Commodus facing right.
Reverse: P M TR P X IMP VII COS IIII P P. Draped figure of Victory, seated on pile of shields, facing right, holding a long stylus in her right hand and supporting a shield on her left knee with her left hand; S – C in field; VICT BRIT in exergue.
Diameter: 29.5mm | Weight: 20.12gms | Die Axis: 12h
RIC III: 452 | SRCV: 5826 | Cohen: 946 | BMCRE: 560 | SPINK: 648
SCARCE
This sestertius has a historically important reverse type which refers to Commodus' significant military campaign in Northern Britain.
COMMODUS
Between 180 AD and 184 AD, the Romans were once again at war with the northern tribes in Britain. According to Cassius Dio, “the tribes in that island, crossing the wall that separated them from the Roman legions, proceeded to do much mischief and cut down a general together with his troops”. Though Dio does not make it clear to us today which wall he was writing about, his Roman audience would have known. However, that said, since Southern Scotland was still occupied by the Romans at this time and the Maetae, one of the main tribes involved in the incursion, occupied a hill fort (called Myot Hill today) a few miles north of Antonine's Wall, the wall that seems to best fit his description of separating the tribes from the Roman legions would be the Antonine Wall rather than that of Hadrian. This was the most serious war of Commodus’ reign and when the war was won, Commodus minted coins to celebrate the victory. He also took on the title “Britannicus”, and all his coins after this date feature “Brit” in the legend.
CLICK ON THE IMAGE OF COMMODUS BELOW TO ENLARGE IT
 *Alex
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195 - 211, SEPTIMIUS SEVERUS, AR Denarius, Struck 210 at Rome, alluding to BritanniaObverse: SEVERVS PIVS AVG BRIT. Laureate head of Septimius Severus facing right.
Reverse: VICTORIAE BRIT. Victory standing right, holding palm branch in her right hand and placing uninscribed shield on palm tree with her left.
Diameter: 20mm | Weight: 2.83gms | Die Axis: 7h
RIC IV: 336 | RSC: 730 | SRCV: 6384 | SPINK: 651A
SCARCE
This coin commemorates the success of the Roman campaigns in Scotland during 209 and 210 culminating in the death of Severus at York, England, in February 211.
SEPTIMIUS SEVERUS
Lucius Septimius Severus was Roman emperor from 193 to 211. He was born in Leptis Magna in the Roman province of Africa.
Severus seized power after the death of the emperor Pertinax in 193 (the Year of the Five Emperors).
After consolidating his rule over the western provinces, Severus waged a brief, successful war in the east against the Parthian Empire, sacked their capital Ctesiphon, expanded the eastern frontier to the Tigris and enlarged and fortified the Limes Arabicus in Arabia Petraea. In 202, he campaigned in Africa and Mauretania against the Garamantes, captured their capital Garama and expanded the Limes Tripolitanus along the southern desert frontier of the empire. In 198 he raised his elder son Caracalla to Augustus and in 209 did the same to his younger son, Geta.
In AD 209 Severus invaded Caledonia (modern Scotland) with an army of 50,000 men, but he fell fatally ill of an infectious disease in late 210 and died at Eboracum (York, England) early in 211.
SEVERUS' CAMPAIGNS IN BRITAIN
In 208 Septimius Severus travelled to Britain with the intention of conquering Caledonia (Scotland). Modern archaeological discoveries have helped to throw some light on the scope and direction of this northern campaign.
Severus began by occupying the territory up to the Antonine Wall, this is evidenced by extensive Severan era fortifications and the likely reoccupation of some of the forts on that wall. Over the previous years Hadrian's Wall had fallen into disrepair and Severus strengthened and repaired much of it, he did this to such an extent that many early Antiquarians thought that he was the emperor who had actually built it. Severus constructed a 165-acre (67 ha) camp south of the Antonine Wall at Trimontium, probably assembling the main body of his forces there. Severus then thrust north across the Antonine Wall into Caledonian territory, supported and supplied by a strong naval force. He retraced the steps of Agricola of over a century before, rebuilding many abandoned Roman forts along the east coast, and he re-garrisoned the naval base at Carpow, likely built by Commodus in 185, and possibly the place named as "Horrea Classis" or "Poreo Classis" in the Ravenna Cosmography.
By 210 Severus' campaigning had made significant gains, despite Caledonian guerrilla tactics and purportedly heavy Roman casualties.
According to Cassius Dio: “Severus did not desist until he approached the extremity of the island. Here he observed most accurately the variation of the sun's motion and the length of the days and the nights in summer and winter respectively. Having thus been conveyed through practically the whole of the hostile country (for he actually was conveyed in a covered litter most of the way, on account of his infirmity), he returned to the friendly portion, after he had forced the Britons to come to terms, on the condition that they should abandon a large part of their territory.”
The Caledonians had sued for peace, which Severus had granted on the condition that they relinquished control of the Central Lowlands of Scotland, but later that year (210), they, along with the Maeatae, revolted. Severus prepared for another campaign, now intent on exterminating the Caledonians. However the campaign was cut short when Severus fell ill and withdrew south to Eboracum (York) where he died on 4 February 211. Severus was succeeded by his sons, Caracalla and Geta. Caracalla continued campaigning in Caledonia during 212 but soon settled for peace, and shortly after that the frontier was withdrawn south to Hadrian's Wall.
On his death, Severus was deified by the Senate and his remains were buried in the Mausoleum of Hadrian in Rome.
CLICK ON IMAGES BELOW TO ENLARGE THEM
 
*Alex
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195 - 211, SEPTIMIUS SEVERUS, AR Denarius, Struck 210 at Rome, alluding to BritanniaObverse: SEVERVS PIVS AVG BRIT. Laureate head of Septimius Severus facing right.
Reverse: VICTORIAE BRIT. Victory seated on shield facing left, holding another shield resting on her knee in her right hand and palm branch in her left.
Diameter: 19mm | Weight: 2.35gms | Die Axis: 12h
RIC IV: 335 | RSC: 731 | SRCV: 6385 | SPINK: 651C
SCARCE
This coin commemorates the success of the Roman campaigns in Scotland during 209 and 210 culminating in the death of Severus at York, England, in February 211.
SEPTIMIUS SEVERUS
Lucius Septimius Severus was Roman emperor from 193 to 211. He was born in Leptis Magna in the Roman province of Africa.
Severus seized power after the death of the emperor Pertinax in 193 (the Year of the Five Emperors).
After consolidating his rule over the western provinces, Severus waged a brief, successful war in the east against the Parthian Empire, sacked their capital Ctesiphon, expanded the eastern frontier to the Tigris and enlarged and fortified the Limes Arabicus in Arabia Petraea. In 202, he campaigned in Africa and Mauretania against the Garamantes, captured their capital Garama and expanded the Limes Tripolitanus along the southern desert frontier of the empire. In 198 he raised his elder son Caracalla to Augustus and in 209 did the same to his younger son, Geta.
In AD 209 Severus invaded Caledonia (modern Scotland) with an army of 50,000 men, but he fell fatally ill of an infectious disease in late 210 and died at Eboracum (York, England) early in 211.
SEVERUS' CAMPAIGNS IN BRITAIN
In 208 Septimius Severus travelled to Britain with the intention of conquering Caledonia (Scotland). Modern archaeological discoveries have helped to throw some light on the scope and direction of this northern campaign.
Severus began by occupying the territory up to the Antonine Wall, this is evidenced by extensive Severan era fortifications and the likely reoccupation of some of the forts on that wall. Over the previous years Hadrian's Wall had fallen into disrepair and Severus strengthened and repaired much of it, he did this to such an extent that many early Antiquarians thought that he was the emperor who had actually built it. Severus constructed a 165-acre (67 ha) camp south of the Antonine Wall at Trimontium, probably assembling the main body of his forces there. Severus then thrust north across the Antonine Wall into Caledonian territory, supported and supplied by a strong naval force. He retraced the steps of Agricola of over a century before, rebuilding many abandoned Roman forts along the east coast, and he re-garrisoned the naval base at Carpow, likely built by Commodus in 185, and possibly the place named as "Horrea Classis" or "Poreo Classis" in the Ravenna Cosmography.
By 210 Severus' campaigning had made significant gains, despite Caledonian guerrilla tactics and purportedly heavy Roman casualties.
According to Cassius Dio: “Severus did not desist until he approached the extremity of the island. Here he observed most accurately the variation of the sun's motion and the length of the days and the nights in summer and winter respectively. Having thus been conveyed through practically the whole of the hostile country (for he actually was conveyed in a covered litter most of the way, on account of his infirmity), he returned to the friendly portion, after he had forced the Britons to come to terms, on the condition that they should abandon a large part of their territory.”
The Caledonians had sued for peace, which Severus had granted on the condition that they relinquished control of the Central Lowlands of Scotland, but later that year (210), they, along with the Maeatae, revolted. Severus prepared for another campaign, now intent on exterminating the Caledonians. However the campaign was cut short when Severus fell ill and withdrew south to Eboracum (York) where he died on 4 February 211. Severus was succeeded by his sons, Caracalla and Geta. Caracalla continued campaigning in Caledonia during 212 but soon settled for peace, and shortly after that the frontier was withdrawn south to Hadrian's Wall.
On his death, Severus was deified by the Senate and his remains were buried in the Mausoleum of Hadrian in Rome.
CLICK ON IMAGES BELOW TO ENLARGE THEM
*Alex
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195 - 211, SEPTIMIUS SEVERUS, AR Denarius, Struck 210 at Rome, alluding to BritanniaObverse: SEVERVS PIVS AVG BRIT. Laureate head of Septimius Severus facing right.
Reverse: VICTORIAE BRIT. Victory advancing right, holding wreath in her outstretched right hand and palm branch in her left.
Diameter: 19mm | Weight: 3.5gms | Die Axis: 6h
RIC IV: 332 | RSC: 727 | SRCV: 6382 | SPINK: 650
SCARCE
This coin commemorates the success of the Roman campaigns in Scotland during 209 and 210 culminating in the death of Severus at York, England, in February 211.
SEPTIMIUS SEVERUS
Lucius Septimius Severus was Roman emperor from 193 to 211. He was born in Leptis Magna in the Roman province of Africa.
Severus seized power after the death of the emperor Pertinax in 193 (the Year of the Five Emperors).
After consolidating his rule over the western provinces, Severus waged a brief, successful war in the east against the Parthian Empire, sacked their capital Ctesiphon, expanded the eastern frontier to the Tigris and enlarged and fortified the Limes Arabicus in Arabia Petraea. In 202, he campaigned in Africa and Mauretania against the Garamantes, captured their capital Garama and expanded the Limes Tripolitanus along the southern desert frontier of the empire. In 198 he raised his elder son Caracalla to Augustus and in 209 did the same to his younger son, Geta.
In AD 209 Severus invaded Caledonia (modern Scotland) with an army of 50,000 men, but he fell fatally ill of an infectious disease in late 210 and died at Eboracum (York, England) early in 211.
SEVERUS' CAMPAIGNS IN BRITAIN
In 208 Septimius Severus travelled to Britain with the intention of conquering Caledonia (Scotland). Modern archaeological discoveries have helped to throw some light on the scope and direction of this northern campaign.
Severus began by occupying the territory up to the Antonine Wall, this is evidenced by extensive Severan era fortifications and the likely reoccupation of some of the forts on that wall. Over the previous years Hadrian's Wall had fallen into disrepair and Severus strengthened and repaired much of it, he did this to such an extent that many early Antiquarians thought that he was the emperor who had actually built it. Severus constructed a 165-acre (67 ha) camp south of the Antonine Wall at Trimontium, probably assembling the main body of his forces there. Severus then thrust north across the Antonine Wall into Caledonian territory, supported and supplied by a strong naval force. He retraced the steps of Agricola of over a century before, rebuilding many abandoned Roman forts along the east coast, and he re-garrisoned the naval base at Carpow, likely built by Commodus in 185, and possibly the place named as "Horrea Classis" or "Poreo Classis" in the Ravenna Cosmography.
By 210 Severus' campaigning had made significant gains, despite Caledonian guerrilla tactics and purportedly heavy Roman casualties.
According to Cassius Dio: “Severus did not desist until he approached the extremity of the island. Here he observed most accurately the variation of the sun's motion and the length of the days and the nights in summer and winter respectively. Having thus been conveyed through practically the whole of the hostile country (for he actually was conveyed in a covered litter most of the way, on account of his infirmity), he returned to the friendly portion, after he had forced the Britons to come to terms, on the condition that they should abandon a large part of their territory.”
The Caledonians had sued for peace, which Severus had granted on the condition that they relinquished control of the Central Lowlands of Scotland, but later that year (210), they, along with the Maeatae, revolted. Severus prepared for another campaign, now intent on exterminating the Caledonians. However the campaign was cut short when Severus fell ill and withdrew south to Eboracum (York) where he died on 4 February 211. Severus was succeeded by his sons, Caracalla and Geta. Caracalla continued campaigning in Caledonia during 212 but soon settled for peace, and shortly after that the frontier was withdrawn south to Hadrian's Wall.
On his death, Severus was deified by the Senate and his remains were buried in the Mausoleum of Hadrian in Rome.
CLICK ON IMAGES BELOW TO ENLARGE THEM
*Alex
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"As de Nîmes" or "crocodile" Ӕ dupondius of Nemausus (9 - 3 BC), honoring Augustus and AgrippaIMP DIVI F , Heads of Agrippa (left) and Augustus (right) back to back, Agrippa wearing rostral crown and Augustus the oak-wreath / COL NEM, crocodile right chained to palm-shoot with short dense fronds and tip right; two short palm offshoots left and right below, above on left a wreath with two long ties streaming right.
Ó”, 24.5 x 3+ mm, 13.23g, die axis 3h; on both sides there are remains of what appears to be gold plating, perhaps it was a votive offering? Rough edges and slight scrapes on flan typical for this kind of coin, due to primitive technology (filing) of flan preparation.
IMPerator DIVI Filius. Mint of COLonia NEMausus (currently Nîmes, France). Known as "As de Nîmes", it is actually a dupontius (lit. "two-pounder") = 2 ases (sometimes cut in halves to get change). Dupondii were often made out of a golden-colored copper alloy (type of brass) "orichalcum" and this appears to be such case.
Key ID points: oak-wreath (microphotography shows that at least one leaf has a complicated shape, although distinguishing oak from laurel is very difficult) – earlier versions have Augustus bareheaded, no PP on obverse as in later versions, no NE ligature, palm with short fronds with tip right (later versions have tip left and sometimes long fronds). Not typical: no clear laurel wreath together with the rostral crown, gold (?) plating (!), both features really baffling.
But still clearly a "middle" kind of the croc dupondius, known as "type III": RIC I 158, RPC I 524, Sear 1730. It is often conservatively dated to 10 BC - 10 AD, but these days it is usually narrowed to 9/8 - 3 BC.
It is a commemorative issue, honoring the victory over Mark Antony and conquest of Egypt in 30 BC. The heads of Augustus and Agrippa were probably positioned to remind familiar obverses of Roman republican coins with two-faced Janus. Palm branch was a common symbol of victory, in this case grown into a tree, like the victories of Augustus and Agrippa grown into the empire. The two offshoots at the bottom may mean two sons of Agrippa, Gaius and Lucius, who were supposed to be Augustus' heirs and were patrons of the colony. Palm may also be a symbol of the local Nemausian deity, which was probably worshiped in a sacred grove. When these coins were minted, the colony was mostly populated by the settled veterans of Augustus' campaigns, hence the reminiscence of the most famous victory, but some of the original Celtic culture probably survived and was assimilated by Romans. The crocodile is not only the symbol of Egypt, like in the famous Octavian's coins AEGYPTO CAPTA. It is also a representation of Mark Antony, powerful and scary both in water and on land, but a bit slow and stupid. The shape of the crocodile with tail up was specifically chosen to remind of the shape of ship on very common "legionary" denarius series, which Mark Antony minted to pay his armies just before Actium. It is probably also related to the popular contemporary caricature of Cleopatra, riding on and simultaneously copulating with a crocodile, holding a palm branch in her hand as if in triumph. There the crocodile also symbolized Mark Antony.
Marcus Vipsanius Agrippa was born c. 64-62 BC somewhere in rural Italy. His family was of humble and plebeian origins, but rich, of equestrian rank. Agrippa was about the same age as Octavian, and the two were educated together and became close friends. He probably first served in Caesar's Spanish campaign of 46–45 BC. Caesar regarded him highly enough to send him with Octavius in 45 BC to train in Illyria. When Octavian returned to Rome after Caesar's assassination, Agrippa became his close lieutenant, performing many tasks. He probably started his political career in 43 BC as a tribune of the people and then a member of the Senate. Then he was one of the leading Octavian's generals, finally becoming THE leading general and admiral in the civil wars of the subsequent years.
In 38 as a governor of Transalpine Gaul Agrippa undertook an expedition to Germania, thus becoming the first Roman general since Julius Caesar to cross the Rhine. During this foray he helped the Germanic tribe of Ubii (who previously allied themselves with Caesar in 55 BC) to resettle on the west bank of the Rhine. A shrine was dedicated there, possibly to Divus Caesar whom Ubii fondly remembered, and the village became known as Ara Ubiorum, "Altar of Ubians". This quickly would become an important Roman settlement. Agrippina the Younger, Agrippa's granddaughter, wife of Emperor Claudius and mother of Emperor Nero, would be born there in 15 AD. In 50 AD she would sponsor this village to be upgraded to a colonia, and it would be renamed Colonia Claudia Ara Agrippinensium (colony of Claudius [at] the Altar of Agrippinians – Ubii renamed themselves as Agrippinians to honor the augusta!), abbreviated as CCAA, later to become the capital of new Roman province, Germania Inferior.
In 37 BC Octavian recalled Agrippa back to Rome and arranged for him to win the consular elections, he desperately needed help in naval warfare with Sextus Pompey, the youngest son of Pompey the Great, who styled himself as the last supporter of the republican cause, but in reality became a pirate king, an irony since his father was the one who virtually exterminated piracy in all the Roman waters. He forced humiliating armistice on the triumvirs in 39 BC and when Octavian renewed the hostilities a year later, defeated him in a decisive naval battle of Messina. New fleet had to be built and trained, and Agrippa was the man for the job. Agrippa's solution was creating a huge secret naval base he called Portus Iulius by connecting together lakes Avernus, Avernus and the natural inner and outer harbors behind Cape Misenum at the northern end of the Gulf of Naples. He also created a larger type of ship and developed a new naval weapon: harpax – a ballista-launched grapnel shot with mechanisms that allowed pulling enemy ships close for easy boarding. It replaced the previous boarding device that Romans used since the First Punic War, corvus – effective, but extremely cumbersome. A later defence against it were scythe blades on long poles for cutting ropes, but since this invention was developed in secret, the enemy had no chance to prepare anything like it. It all has proved extremely effective: in a series of naval engagements Agrippa annihilated the fleet of Sextus, forced him to abandon his bases and run away. For this Agrippa was awarded an unprecedented honour that no Roman before or after him received: a rostral crown, "corona rostrata", a wreath decorated in front by a prow and beak of a ship.
That's why Virgil (Aeneid VIII, 683-684), describing Agrippa at Actium, says: "…belli insigne superbum, tempora navali fulgent rostrata corona." "…the proud military decoration, gleams on his brow the naval rostral crown". Actium, the decisive battle between forces of Octavian and Mark Antony, may appear boring compared to the war with Sextus, but it probably turned out this way due to Agrippa's victories in preliminary naval engagements and taking over all the strategy from Octavian.
In between the wars Agrippa has shown an unusual talent in city planning, not only constructing many new public buildings etc., but also greatly improving Rome's sanitation by doing a complete overhaul of all the aqueducts and sewers. Typically, it was Augustus who later would boast that "he had found the city of brick but left it of marble", forgetting that, just like in his naval successes, it was Agrippa who did most of the work. Agrippa had building programs in other Roman cities as well, a magnificent temple (currently known as Maison Carrée) survives in Nîmes itself, which was probably built by Agrippa.
Later relationship between Augustus and Agrippa seemed colder for a while, Agrippa seemed to even go into "exile", but modern historians agree that it was just a ploy: Augustus wanted others to think that Agrippa was his "rival" while in truth he was keeping a significant army far away from Rome, ready to come to the rescue in case Augustus' political machinations fail. It is confirmed by the fact that later Agrippa was recalled and given authority almost equal to Augustus himself, not to mention that he married Augustus' only biological child. The last years of Agrippa's life were spent governing the eastern provinces, were he won respect even of the Jews. He also restored Crimea to Roman Empire. His last service was starting the conquest of the upper Danube, were later the province of Pannonia would be. He suddenly died of illness in 12 BC, aged ~51.
Agrippa had several children through his three marriages. Through some of his children, Agrippa would become ancestor to many subsequent members of the Julio-Claudian dynasty. He has numerous other legacies.Yurii P
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010 AugustusDivus Augustus Æ As. Commemorative by Tiberius. DIVVS AVGVSTVS PATER, radiate head left, thunderbolt before / Eagle standing on globe facing, wings spread, head right, S C at sides. RIC 82 [Tiberius]
"I found Rome built of bricks; I leave her clothed in marble."
This was one of my first ancients, it was my first early imperial.
Randygeki(h2)
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501. Constantine I Ostia SolOstia
Although Ostia was probably founded for the sole purpose of military defence — since through the Tiber's mouths armies could eventually reach Rome by water — in time the port became a commercial harbour, and a very important one too. Many of the goods that Rome received from its colonies and provinces passed through Ostia. In this role, Ostia soon replaced Pozzuoli (Puteoli, near Naples).
In 87 BC, the town was razed by Marius, and again in 67 BC it was sacked by pirates. After this second attack, the town was re-built and provided with protective walls by Cicero. The town was then further developed during the 1st century AD, mainly under the influence of Tiberius, who ordered the building of the first Forum. The town was also soon enriched by the construction of a new harbour on the northern mouths of the Tiber (which reaches the sea with a larger mouth in Ostia, Fiumara Grande, and a narrower one near to the current Fiumicino international airport). The new harbour, not surprisingly called Portus, was excavated from the ground at the orders of the emperor Claudius; it has an hexagonal form, in order to reduce the waves strength. The town was provided with all the services a town of the time could require; in particular, a famous lighthouse. Archaeologists also discovered the public latrinas, organised for collective use as a series of seats that lets us imagine today that the function was also a social moment. In addition, Ostia had a large theatre, public baths and a fire fighting service. You can still see the mosaic floors of the baths near today's entrance to the town.
Trajan too, required a widening of the naval areas, and ordered the building of another harbour, again pointing towards the north. It must be remembered that at a relatively short distance, there was also the harbour of Civitavecchia (Centum Cellae), and Rome was starting to have a significant number of harbours, the most important remaining Portus.
Ostia grew to 50,000 inhabitants in the 2nd century AD and in time focused its naval activities on Portus. With the end of the Roman Empire, Ostia fell slowly into decay, and was finally abandoned in the 9th century due to the fall of the Roman empire in combination with repeated invasions and sackings by Arab pirates; the inhabitants moved to Gregoriopolis. In the Middle Ages, bricks from buildings in Ostia were used for several other occasions. The Leaning Tower of Pisa was entirely built of material originally belonging to Ostia. A "local sacking" was carried out by baroque architects, who used the remains as a sort of marble store for the palazzi they were building in Rome. Soon after, foreign explorers came in search of ancient statues and objects. The Papacy started organising its own investigations with Pope Pius VII and the research still continues today. It has been estimated that two thirds of the ancient town have currently been found.
001. Constantine I Ostia
RIC VI Ostia 85 S
ecoli
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51. Philip II as Caesar.A comparison of the portrait of Philip II on the previous sestertius, and the marble bust of Philip II in the Capitoline Museum, Rome.Callimachus
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AphroditeMarble statue of a naked Aphrodite crouching at her bathBacchus
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Apollo kitharoidos (holding a lyre). Marble, Roman artwork, 2nd century CE, influence of Hellenistic statuary of the 2nd century BC. From the Temple of Apollo at Cyrene (modern Libya).The Apollo of Cyrene is a colossal Roman statue of Apollo found at the ancient city of Cyrene, Libya. This enormous sculpture was discovered in the mid-nineteenth century at the Temple of Apollo at Cyrene in Libya, where it was probably the main cult image. It was excavated by the British explorers and amateur archaeologists Captain Robert Murdoch Smith and Commander Edwin A. Porcher. The statue was found broken into 121 pieces, lying near the large plinth where it originally stood. The fragments were later reassembled in the British Museum to create a relatively intact statue with only the right arm and left hand missing.
Source: https://en.wikipedia.org/wiki/Apollo_of_CyreneJoe Sermarini
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Apollo kitharoidos, Vatican Museum, a 2nd-century AD colossal marble statue by an unknown Roman sculptor.An Apollo Citharoedus is a statue or other image of Apollo with a Kithara (lyre). Among the best-known examples is this Apollo Citharoedus of the Vatican Museums, a 2nd-century AD colossal marble statue by an unknown Roman sculptor. Apollo is shown crowned with laurel and wearing the long, flowing robe of the Ionic bard. The statue was found in 1774, with seven statues of the Muses, in the ruins of Gaius Cassius Longinus' villa near Tivoli, Italy. The sculptures are preserved in the Hall of the Muses, in the Museo Pio-Clementino of the Vatican Museums. Joe Sermarini
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Apollo SauroktonosNikopolis ad Istrum/Moesia inferior, Geta 198-202
AE 25, 11.38g
obv. L CEPTIMI GETAC KAICAR
bust draped, bare head r.
rev. [YP AVR G]A[LL]OC NIKOPOLITWN PROC ICTRON
Apollo, naked, laureate, with crossed legs, stg. r., r. hand raised behind holding arrow, l. hand resting on tree before him; at the tree a lizard, touching Apollo
AMNG 1654, VF, lizard only partially visible due to a weak strike, but nice green patina
Rare, only one spec. in AMNG ex coll. Löbbecke
From Pliny the Elder we know the detailed description of a famous bronze sculpture of Praxiteles (4th century BC) named Sauroktonos, the Lizard-killer. The original sculpture is lost. We have two Roman marble copies in the Louvre and in the Musei Vaticani in Rome. May be the coin is the pic of Pliny's description or may be not. But the reverse shows clearly the two sides of Apollo: Here the youthful smiling bringer of light and in the same moment the merciless killer for fun.Jochen
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Artemis, (Diana of Ephesus), in her TempleTI. CLAVD CAES AVG. Claudius bare head, facing left. / DIAN-EPHE Cult statue of Diana (Artemis) of Ephesus inside a tetra style temple, set on three tiered base; pediment decorated by figures flanking three windows.
RIC I 118; RPC I 2222; BMCRE 229; RSC 30; Sear Millennium 1839. Ephesus ca. 41-42 AD.
(25 mm, 11.14 g, 6h)
The statue of Artemis (Diana) at Ephesus was one of the Seven Wonders of the ancient world. Depicted on this coin, which was minted shortly after Claudius’ accession to the throne, there remains no trace of the statue, or the temple that housed it, other than some recently stacked column remnants to mark the location. Pliny The Elder described the temple as 115 meters in length, 55 meters in width, made almost entirely of marble; consisting of 127 Ionic style columns 18 meters in height. The original temple, which stood on the site from about 550 BC, was destroyed by arson in 356 BC. It was rebuilt around 330 BC in the form depicted on the coin, only to be destroyed by the Goths in 262 AD. Again rebuilt it was destroyed for the final time by Christians in 401 AD. The columns and marble of the temple were used to construct other buildings. Some of the columns found their way into the church of Hagia Sophia in Constantinople (Istanbul).
The site of the temple was rediscovered in 1869 by an expedition sponsored by the British Museum, but little remains to be seen today. A Christian inscription found at Ephesus reads Destroying the delusive image of the demon Artemis, Demeas has erected this symbol of Truth, the God that drives away idols, and the Cross of priests, deathless and victorious sign of Christ. This Christian zeal explains why so little remains of the site despite its repute in the ancient pre-Christian world.
This coin is rare with a few dozen examples known. In contrast to most examples, which show a four tiered temple base, the reverse of this coin shows a three-tiered temple base. The rectangles on the pediment of the temple are frequently identified as tables, or altars. However, it is more likely that these are windows in the pediment to facilitate lighting of the statue in the interior of the temple. The Ionic style of the columns, as described by Pliny, is clearly visible in the reverse image.
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Asklepios of PhyromachosHead of Asklepios. Roman marble copy of the head of Asklepios made by Phyromachos, today in the Hermitage in St. Petersburg/Russia. The famous statue of Asklepios made by Phyromachos stood in the Asklepieion in Pergamon. Its head is found on several coins from Pergamon.
Phyromachos was the Pergamenian court sculptor. He has made too the Gigantomachy of the Pergamon Altar today in the Pergamon Museum in Berlin.Jochen
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Barberini Faun (Drunken Satyr) located in the Glyptothek in Munich, GermanyThe life-size marble statue known as the Barberini Faun or Drunken Satyr is located in the Glyptothek in Munich, Germany. A Faun is the Roman equivalent of a Greek Satyr. In Greek mythology, satyrs were human-like male woodland spirits with several animal features, often a goat-like tail, hooves, ears, or horns. Satyrs attended Dionysus. The position of the right arm over the head was a classical artistic convention indicating sleep. The statue is believed to have once adorned Hadrian's Mausoleum. The historian Procopius recorded that during the siege of Rome in 537 the defenders had hurled down upon the Goths the statues adorning Hadrian's Mausoleum. When discovered, the statue was heavily damaged; the right leg, parts of both hands, and parts of the head were missing. Johann Winckelmann speculated that the place of discovery and the statue's condition suggested that it had been such a projectile.
Joe Sermarini
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BHM 1061. The Elgin Marbles, East Frieze IV 24-27.Obv. THE ELGIN MARBLES DEDICATED BY PERMISSION TO HIS MAJESTY GEORGE IV The Royal Coat of Arms with supporters.
Rev. CASTOR POLLUX CERES AND TRIPTOLEMUS THOMASON DIREXIT Hermes, Dionysos(?), Demeter and Ares seated.
AE48
The British Museum writes about the fragment depicted:
24-25. Hermes, a messenger god, sits looking in the direction of the procession. He wears sandals and a traveller's hat (petasos) rests on his knee. The figure who leans on his shoulder is probably Dionysos, god of wine. His left arm was supported by a staff (thyrsos).
26. Demeter, goddess of growing corn, was shown resting her chin (now missing) upon her hand. In Greek art this was a conventional gesture of mourning. Her grief is for her daughter Persephone, who was abducted by the god of the Underworld. In her left hand Demeter holds a torch, the symbol of the Eleusinian Mysteries, of which she was the patron.
27. Ares, god of war, sits with one knee cradled in his hands, while his left foot rests on the haft of a spear. Part of the weapon is just visible below the ankle bone. The rest of it must have been painted on the stone.
LordBest
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Bramsen 0633. Friedland, Anniversaire de Marengo, 1807.Obv. Laureate head right. NAPOLEON EMP ET ROI
Rev. A winged female draped, representing History, recording on a marble tablet of oval form, the victory of 14th June, at Marengo and Friedland; on the tablet is inscribed, XIV JUIN MARINGO FRIEDLAND. On the right of the pillar, on which History rests the tablet, is an olive branch.
Exergue, BRENET F. DENON D
Struck to commemorate the Battle of Friedland which coincided with the anniversary of the Battle of Marengo . 1807.LordBest
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Bust of Plautilla - Citta del Vaticano / Musei Vaticani Bust of Plautilla
Marble
ca. 202 A.D.
Citta del Vaticano
Musei Vaticani, Museo Pio Clementino, Sala dei Busti
Inv.-No. 687
With special thanks to Prof. A. Nesselrath from the Musei Vaticani who allowed me to visit this amazing girl. nummis durensis
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Constantine the GreatMarble head of Constantine the Great at the Musei Capitolini in RomeJay GT4
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Constantinople CONSSConstantine had altogether more ambitious plans. Having restored the unity of the empire, now overseeing the progress of major governmental reforms and sponsoring the consolidation of the Christian church, Constantine was well aware that Rome had become an unsatisfactory capital for several reasons. Located in central Italy, Rome lay too far from the eastern imperial frontiers, and hence also from the legions and the Imperial courts. Moreover, Rome offered an undesirable playground for disaffected politicians; it also suffered regularly from flooding and from malaria.
It seemed impossible to many that the capital could be moved. Nevertheless, Constantine identified the site of Byzantium as the correct place: a city where an emperor could sit, readily defended, with easy access to the Danube or the Euphrates frontiers, his court supplied from the rich gardens and sophisticated workshops of Roman Asia, his treasuries filled by the wealthiest provinces of the empire.
Constantine laid out the expanded city, dividing it into 14 regions, and ornamenting it with great public works worthy of a great imperial city. Yet initially Constantinople did not have all the dignities of Rome, possessing a proconsul, rather than a prefect of the city. Furthermore, it had no praetors, tribunes or quaestors. Although Constantinople did have senators, they held the title clarus, not clarissimus, like those of Rome. Constantinople also lacked the panoply of other administrative offices regulating the food supply, police, statues, temples, sewers, aqueducts or other public works. The new program of building was carried out in great haste: columns, marbles, doors and tiles were taken wholesale from the temples of the empire and moved to the new city. Similarly, many of the greatest works of Greek and Roman art were soon to be seen in its squares and streets. The emperor stimulated private building by promising householders gifts of land from the imperial estates in Asiana and Pontica, and on 18 May 332 he announced that, as in Rome, free distributions of food would be made to citizens. At the time the amount is said to have been 80,000 rations a day, doled out from 117 distribution points around the city.
Constantinople was a Greek Orthodox Christian city, lying in the most Christianised part of the Empire. Justinian ordered the pagan temples of Byzantium to be deconstructed, and erected the splendid Church of the Holy Wisdom, Sancta Sophia (also known as Hagia Sophia in Greek), as the centrepiece of his Christian capital. He oversaw also the building of the Church of the Holy Apostles, and that of Hagia Irene.
Constantine laid out anew the square at the middle of old Byzantium, naming it the Augusteum. Sancta Sophia lay on the north side of the Augusteum. The new senate-house (or Curia) was housed in a basilica on the east side. On the south side of the great square was erected the Great Palace of the emperor with its imposing entrance, the Chalke, and its ceremonial suite known as the Palace of Daphne. Located immediately nearby was the vast Hippodrome for chariot-races, seating over 80,000 spectators, and the Baths of Zeuxippus (both originally built in the time of Septimius Severus). At the entrance at the western end of the Augusteum was the Milion, a vaulted monument from which distances were measured across the Eastern Empire.
From the Augusteum a great street, the Mese, led, lined with colonnades. As it descended the First Hill of the city and climbed the Second Hill, it passed on the left the Praetorium or law-court. Then it passed through the oval Forum of Constantine where there was a second senate-house, then on and through the Forum of Taurus and then the Forum of Bous, and finally up the Sixth Hill and through to the Golden Gate on the Propontis. The Mese would be seven Roman miles long to the Golden Gate of the Walls of Theodosius.
Constantine erected a high column in the middle of the Forum, on the Second Hill, with a statue of himself at the top, crowned with a halo of seven rays and looking towards the rising sun.
RIC VII Constantinople 61 C1
ecoli
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Crawford 417/1a, Roman Republic, Rome mint, moneyers L. Aemilius Lepidus Paullus and L. Scribonius Libo, 62 BC., AR Denarius.Roman Republic, Rome mint, moneyers L. Aemilius Lepidus Paullus and L. Scribonius Libo, 62 BC.,
AR Denarius (18-20 mm / 3,72 g),
Obv.: [P]AVLLVS. LEPIDVS - CONCORD head of Concordia r., wearing veil and diadem.
Rev.: PVTEAL SCRIBON / LIBO , Puteal Scribonianum (Scribonian well, the "Puteal Scribonianum" well in the Forum Romanum near the Arch of Fabius), decorated with garland and two lyres, hammer at base.
Crawf. 417/1a ; Syd. 927 ; Bab. / Seaby Aemilia 11 ; Kestner 3422 ; BMC Rome 3383 ; CNR Aemilia 62 .
Rare
A puteal was a classical wellhead, round or sometimes square, set round a well opening to keep people from falling in. Such well heads (putealia) might be of marble, enriched with bas-reliefs. - The puteal is on the reverse of the coin adorned with garlands and two lyres. It is generally stated that there were two putealia in the Roman forum; but C. F. Hermann, who has carefully examined all the passages in the ancient writers relating to this matter (Ind. Lect. Marburg. 1840), comes to the conclusion that there was only one such puteal at Rome. It was in the forum, near the Arcus Fabianus, and was dedicated in very ancient times either on account of the whetstone of the Augur Navius (cf. Liv. I.36), or because the spot had been struck by lightning. It was subsequently repaired and re-dedicated by Scribonius Libo, who had been commanded to examine the state of the sacred places. Libo erected in its neighbourhood a tribunal for the praetor, in consequence of which the place was, of course, frequented by persons who had law-suits, such as money-lenders and the like.
The Puteal Scribonianum (Scribonian Puteal) or Puteal Libonis (Puteal of Libo), building in the Forum at Rome, dedicated or restored by a member of the Libo family, perhaps the praetor of 204 BC, or the tribune of the people in 149 BC. In its vicinity the praetor's tribunal, removed from the comitium in the 2nd century BC, held its sittings, which led to the place becoming the haunt of litigants, money-lenders and business people. According to ancient authorities, the Puteal Libonis was the name given to an erection (or enclosure) on a spot which had been struck by lightning; it was so called from its resemblance to the stone curb or low enclosure round a well (puteus) that was between the temples of Castor and Vesta, near the Porticus Julia and the Arcus Fabiorum (arch of the Fabii), but no remains have been discovered. The idea that an irregular circle of travertine blocks, found near the temple of Castor, formed part of the puteal is now abandoned. See Horace, Sat. ii.6.35, Epp. i.19.8; Cicero, Pro Sestio, 8; for the well-known coin of Lucius Scribonius Libo, representing the puteal of Libo, which rather resembles a cippus (sepulchral monument) or an altar, with laurel wreaths, two lyres and a pair of pincers or tongs below the wreaths (perhaps symbolical of Vulcan as forger of lightning), see C. Hulsen, The Roman Forum (Eng. trans. by J. B. Carter, 1906), p. 150.
L. Scribonius Libo, was the father-in-law of Sextus Pompey, the son of Pompey the Great. On the breaking out of the civil war in 49, he sided with Pompey, and was given command of Etruria. Shortly afterwards he accompanied Pompey to Greece, and was actively engaged in the war that ensued. On the death of Bibulus (48) he had the given command of the Pompeian fleet. In the civil wars following Caesar's death, he followed the fortunes of his son-in-law Sextus Pompey. In 40, Octavian married his sister Scribonia, and this marriage was followed by a peace between the triumvirs and Pompey (39). When the war was renewed in 36, Libo for a time supported Pompey, but, seeing his cause hopeless, he deserted him in the following year. In 34, he was consul with Mark Antony.
my ancient coin database
Arminius
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Cybele enthroned, with lion, cornucopia, and mural crown. Roman marble, c. 50 AD. Getty MuseumCybele enthroned, with lion, cornucopia, and mural crown. Roman marble, c. 50 AD. Getty Museum
Cybele is an Anatolian mother goddess. Phrygia's only known goddess, she was probably its national deity. Greek colonists in Asia Minor adopted and adapted her Phrygian cult and spread it to mainland Greece and to the more distant western Greek colonies around the 6th century BC.
In Greece, Cybele met with a mixed reception. She became partially assimilated to aspects of the Earth-goddess Gaia, of her possibly Minoan equivalent Rhea, and of the harvest–mother goddess Demeter. Some city-states, notably Athens, evoked her as a protector, but her most celebrated Greek rites and processions show her as an essentially foreign, exotic mystery-goddess who arrives in a lion-drawn chariot to the accompaniment of wild music, wine, and a disorderly, ecstatic following. Uniquely in Greek religion, she had a eunuch mendicant priesthood. Many of her Greek cults included rites to a divine Phrygian castrate shepherd-consort Attis, who was probably a Greek invention. In Greece, Cybele became associated with mountains, town and city walls, fertile nature, and wild animals, especially lions.
In Rome, Cybele became known as Magna Mater ("Great Mother"). The Roman state adopted and developed a particular form of her cult after the Sibylline oracle in 205 BC recommended her conscription as a key religious ally in Rome's second war against Carthage (218 to 201 BC). Roman mythographers reinvented her as a Trojan goddess, and thus an ancestral goddess of the Roman people by way of the Trojan prince Aeneas. As Rome eventually established hegemony over the Mediterranean world, Romanized forms of Cybele's cults spread throughout Rome's empire. Greek and Roman writers debated and disputed the meaning and morality of her cults and priesthoods, which remain controversial subjects in modern scholarshipJoe Sermarini
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Cybele, Marble statue of Cybele from Formia in Lazio, circa 60 BCEMarble statue of Cybele from Formia in Lazio, circa 60 BCE. From the collection of the Ny Carlsberg Glyptotek. Item number IN 480.
Source: https://commons.wikimedia.org/wiki/File:Cybele_formiae.jpg
Photo by ChrisO, 26 August 2008Joe Sermarini
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Ganymed of LeocharesGanymedes carried off by the eagle. Marble, Roman copy after a bronze original from ca. 325 BC. Galleria dei Candelabri, Musei Vaticani/Rome. Depicted at least on one coin of Dardanos/Troas.
Jochen
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Greece, Lesbos, Messa: The pan-Lesbian sanctuary of Messa, Lesbos (probably of Aphrodite).The pan-Lesbian sanctuary of Messon, at the center of the island, was established in early historic times and served as the seat of the Lesbian Koinon (Commonwealth). The temple had eight columns on the short sides and 14 on the long sides. Most of the temple was built of white volcanic rock. Marble was selectively used for the decorative elements. The cella walls were made of reddish volcanic rock. The temple was probably destroyed by an earthquake in the 3rd or 4th century A.D. Seven kilns from that period were found in the area. Architectural members of the temple were used to build the kilns, which were then probably used to burn other parts of the temple for lime production.
Photo by Tedmek 20 Jun 2010, released to Public Domain. https://commons.wikimedia.org/wiki/File:Lesbos_Messa01.JPGLondon
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HARBOUR, TRAJAN, AE Sestertius (Portus Trajani)Portus Trajani
Æ Sestertius (26.66g, Ø35mm, 6h). Rome mint. Struck AD 104-111.
Obv.: IMP CAES NERVAE TRAIANO AVG GER DAC P M TR P COS V P P laureate draped bust of Trajan facing right.
Rev.: (PORTVM TRAIANI around, S C in ex.), Basin of Trajan's harbour (Portus Traiani), near Ostia, surrounded by warehouses, ships in centre.
RIC 471 (R2); Cohen 305; BMC 770A; Foss (Roman Historical Coins) 104:59
ex Jean Elsen Auction 95; ex coll. A. Senden: "L'architecture des monnaies Romaines".
Due to the vulnarability of Portus Claudii, witness the events of 62 AD when a violent storm destroyed some 200 ships in the port, Trajan built a second one farther inland behind the port of Claudius. The work was carried out in the years 100-112 AD, and included improvements of the Claudian harbour. It was a hexagonal basin enclosing an area of 39 hectares, and communicating by canals with the harbour of Claudius, with the Tiber directly, and with the sea. The capacity of the harbour was much enlarged, and many new warehouses were built around it, remains of which may still be seen: The fineness of the brickwork of which they are built is remarkable. The sides of the hexagonal basin were over 350 m, the maximum diameter more than 700 m., and 5m deep. The bottom was covered with stones, at the north end gradually sloping upwards, to reach a depth of only one meter at the edge of the basin.
The basin could contain more than 100 ships that did not moor alongside the quays, but at a straight angle. It was surrounded by a few wide treads (total width c. 6 m.). On the quays was a wall, with five narrow doorways (1.80) on each side of the hexagon. The doorways are too narrow for wagons. Apparently the goods were unloaded and carried by slaves. This can also be seen on several reliefs and mosaics. The wall facilitated the control of the flow of goods, for the Customs Service and the levying of import duties (the portorium).
The hexagon may have been designed by Apollodorus of Damascus, the architect of Trajan's Market in Rome. No other harbours are known with this shape, suggesting that it was chosen not only for practical purposes, but also for aesthetic reasons.
Portus was the main port of ancient Rome for more than 500 years and provided a conduit for everything from glass, ceramics, marble and slaves to wild animals caught in Africa and shipped to Rome for spectacles in the Colosseum.Charles S
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head of horse from Selene's chariot from east tympanum of ParthenonThe British museum Elgin MarblesJ. B.
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Heracles and the Stymphalian birds. Detail of a Roman mosaic from Llíria, Spain.The Stymphalian birds are man-eating birds with beaks of bronze, sharp metallic feathers they could launch at their victims, and poisonous dung.
"These fly against those who come to hunt them, wounding and killing them with their beaks. All armour of bronze or iron that men wear is pierced by the birds; but if they weave a garment of thick cork, the beaks of the Stymphalian birds are caught in the cork garment, just as the wings of small birds stick in bird-lime. These birds are of the size of a crane, and are like the ibis, but their beaks are more powerful, and not crooked like that of the ibis." — Pausanias. Description of Greece, 8.22.5
These birds were pets of Artemis, the goddess of the hunt; or had been brought up by Ares, the god of war. They migrated to a marsh in Arcadia to escape a pack of wolves. There they bred quickly and swarmed over the countryside, destroying crops, fruit trees, and townspeople.
The Sixth Labour of Heracles. The Stymphalian birds were defeated by Heracles (Hercules) in his sixth labour for Eurystheus. Heracles could not go into the marsh to reach the nests of the birds, as the ground would not support his weight. Athena, noticing the hero's plight, gave Heracles a rattle called krotala, which Hephaestus had made especially for the occasion. Heracles shook the krotala (similar to castanets) on a certain mountain that overhung the lake and thus frightening the birds into the air. Heracles then shot many of them with feathered arrows tipped with poisonous blood from the slain Hydra. The rest flew far away, never to plague Arcadia again. Heracles brought some of the slain birds to Eurystheus as proof of his success.
The surviving birds made a new home on an island of Aretias in the Euxine Sea. The Argonauts later encountered them there.
According to Mnaseas, they were not birds, but women and daughters of Stymphalus and Ornis, and were killed by Heracles because they did not receive him hospitably. In the temple of the Stymphalian Artemis, however, they were represented as birds, and behind the temple there were white marble statues of maidens with birds' feet.Joe Sermarini
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Hermes Bearing the Infant DionysosHermes bearing the infant Dionysos, made by Praxiteles, around 364 BC. Hellenistic marble copy, now in the Archaeological Museum of Olympia/Greece. Depicted on a coin from Philippopolis.
Jochen
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Isis from the Villa HadrianaIsis, marble statue from the Hadrian period, found in the 17th century at the Villa Hadriana near Tivoli. Isis, crowned with small throne (= aset, Egyptian name for Isis), in long garment with Isis knot over her breast, holding situla in lowered l. hand and sistrum in raised r. hand.
The original statue was acquired 1753 for the Capitoline Museums/Rome, 1798 displaced by Napoleon to Paris, 1815 donated by Pope Pius VII to King Louis XVIII, and still in the Louvre/Paris.Jochen
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Italy, Herculaneum, Honorific statue of Marcus Nonius BalbusThe honorific marble statue of Marcus Nonius Balbus was reconstructed from fragments.
From my visit to Herculaneum in August 2015 maridvnvm
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Italy, Herculaneum, House of the Neptune mosaic - nymphaeumOn the far end wall of the court of the House of the Neptune mosaic is a nympheum. It is surmounted by the head of Silenus accompanied by two marble theatrical masks.
From my visit to Herculaneum in August 2015 maridvnvm
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Italy, Herculaneum, House of the Relief of TelephusA marble disc showing a hippocamp
From my visit to Herculaneum in August 2015 maridvnvm
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Italy, National Museum Naples, Marble bust of Hannibal from CapuaA marble bust, reputedly of Hannibal, originally found at the ancient city-state of Capua in Italy (some historians are uncertain of the authenticity of the portrait). From Phaidon Verlag (Wien-Leipzig) - "Römische Geschichte", gekürzte Ausgabe (1932). Author died more than 70 years ago - public domain.Joe Sermarini
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Italy, Pompeii - Marble tripod table legs A marble tripod table legs decorated with lion heads .
From my visit to Pompeii in August 2015 maridvnvm
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Italy, Rome, Basilica of Santi Cosma e Damiano, Roman bronze doorsThe original bronze doors of the Temple of Divus Romulus still survive and are pictured above. They are set between two porphyry columns that support a reused marble architrave and open into a rotunda fifty Roman feet in diameter covered by a cupola which is accessible from the rear through the Basilica of Santi Cosma e Damiano. The temple was converted into a vestibule for the church early in the 6th century.*Alex
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Italy, Rome, CuriaThe place where the Senate held its meetings.
Notice the three different kinds of marble used for the pavement. The beheaded statue should be Trajan's.
Posted by Strength And Honour.
Photo taken by my friend Hebe.
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Italy, Rome, Pantheon insideInterior view of Hadrian's dome and ocular center. An engeneering masterpiece, the concrete gets thinner as it rises. The open ocular in the center allows light to flood into this massive ancient space. The walls at the bottom are about 12 feet thick. The interior is completely ancient from the marble floors to the walls and dome. Origianlly dedicated to all the god's it is now a Catholic church.Jay GT4
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Italy, Rome, Temple of Vesta in the Forum Romanum.Temple of Vesta in the Forum Romanum in Rome. See: http://en.wikipedia.org/wiki/Temple_of_Vesta. All temples to Vesta were round, and had entrances facing east to symbolize connection between Vesta’s fire and the sun as sources of life. The Temple of Vesta represents the site of ancient cult activity as far back as 7th century BCE. Numa Pompilius is believed to have built this temple along with the original Regia and House of the Vestal Virgins in its original form. Around the Temple stood The Sacred Grove, in which also there was a graveyard for the priests and virgins. It was one of the earliest structures located in the Roman Forum although its present reincarnation is the result of subsequent rebuilding. Instead of a cult statue in the cella there was a hearth which held the sacred flame. The temple was the storehouse for the legal wills and documents of Roman Senators and cult objects such as the Palladium. The Palladium was a statue of Athena (Roman Minerva) believed to have been brought by Aeneas from Troy; the statue was felt to be one of the Pignora Imperii, or pledges of imperium, of Ancient Rome. According to Dionysius of Halicarnassus, the Romans believed that the Sacred fire of Vesta was closely tied to the fortunes of the city and viewed its extinction as a portent of disaster. The sacred flame was put out in 394 by Theodosius I after he won the Battle of the Frigidus, defeating Eugenius and Arbogast. The Temple of Vesta remained reasonably intact until the Renaissance. However, in 1549 the building was completely demolished and its marble reused in churches and papal palaces. The section standing today was reconstructed in the 1930s during the dictatorship of Benito Mussolini.
By Wknight94, 26 April 2008. Source: Joe Sermarini
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Italy, Rome, The Column of FocasThe Column of Phocas at Rome was erected before the Rostra and dedicated to the Emperor on 1 August 608. It was the last addition made to the Forum Romanum. The Corinthian column has a height of 13.6 m (44 ft). Both the column and the marble socle were recycled from earlier use. It still stands in its original location. An English translation of the inscription follows: To the best, most clement and pious ruler, our lord Phocas the perpetual emperor, crowned by God, the forever august triumphator, did Smaragdus, former praepositus sacri palatii and patricius and Exarch of Italy, devoted to His Clemency for the innumerable benefactions of His Piousness and for the peace acquired for Italy and its freedom preserved, this statue of His Majesty, blinking from the splendor of gold here on this tallest column for his eternal glory erect and dedicate, on the first day of the month of August, in the eleventh indiction in the fifth year after the consulate of His Piousness. Source: http://en.wikipedia.org/wiki/Column_of_Phocas. Image released to public domain.Joe Sermarini
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Italy, Rome, Vatican Museums, Marble bustsVatican MuseumsJ. B.
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Italy, Sicily, Agrigento - Temple of Juno LaciniaThis temple was constructed on a mostly artificial spur. It dates to c. 450 BC, measuring 38.15 x 16.90 m: it is in Doric style, peripteros 6 columns wide by 13 long, preceded by a pronaos and opisthodomos. The basement has four steps.
Current remains (including anastylosis from the 18th Century onwards) consist of the front colonnade with parts of the architrave and of the frieze. Only fragments of the other three sides survive, with few elements of the cella. The building was damaged in the fire of 406 BC and restored in Roman times, with the substitution of clay marble roof tiles with ones and the addition of a steep rise in the area where today can be seen the remains of the altar.
Nearby are arcosolia and other sepultures from Byzantine times, belonging to the late 6th century AD renovation of the Temple of Concordia into a Christian church.
Joe Sermarini
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Italy, Sicily, Agrigento, Temple of ConcordiaDue to its good state of preservation, the Temple of Concordia is ranked amongst the most notable edifices of the Greek civilization existing today. It has a peristatis of 6 x 13 columns built over a basement of 39.44 x 16.91 m; each Doric column has twenty grooves and a slight entasis, and is surmounted by an architrave with triglyphs and metopes; also perfectly preserved are the tympani. The cella, preceded by a pronaos, is accessed by a single step; also existing are the pylons with the stairs which allowed to reach the roof and, over the cella's walls and in the blocks of the peristasis entablature, the holes for the wooden beam of the ceiling. The exterior and the interior of the temple were covered by polychrome stucco. The upper frame had gutters with lion-like protomes, while the roof was covered by marble tiles.
When the temple was turned into a church the entrance was moved to the rear, and the rear wall of the cella was destroyed. The spaces between the columns were closed, while 12 arched openings were created in the cella, in order to obtain a structure with one nave and two aisles. The pagan altar was destroyed and sacristies were carved out in the eastern corners. The sepultures visible inside and outside the temple date to the High Middle Age.
Joe Sermarini
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Italy, Sorrento, Correale di Terranova Museum - Marble inscriptionA marble inscription from the Correale di Terranova Museum, Sorrento.
From my visit to Sorrento in August 2015maridvnvm
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Italy, Sorrento, Correale di Terranova Museum - Roman Trophy of ArmsA marble Trophy of Arms from the Correale di Terranova Museum, Sorrento.
From my visit to Sorrento in August 2015 maridvnvm
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Italy, Sorrento, Correale di Terranova Museum - Roman Trophy of ArmsA marble Trophy of Arms from the Correale di Terranova Museum, Sorrento.
From my visit to Sorrento in August 2015 maridvnvm
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Italy, Sorrento, Hilton Sorrento Palace Hotel lobbyThe hotel lobby contained an marble torso. The hollow in the neck showed that the head could be removed and possibly changed, as could the left arm, possibly to allow the figure to be shown to be holding different attributes as required.
From my visit to Sorrento in August 2015 maridvnvm
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Italy- Forum Romanum- The basilica of Majencius front and backThe Basilica of Maxentius (Basilica Maxentii) or the Basilica of Constantine (Basilica Constantini) was the last of the great civilian basilicas on the Roman Forum. The ruins of the basilica is located between the Temple of Amor and Roma and the Temple of Romulus, on the Via Sacra.
The construction of the basilica was initiated by Maxentius in 308 CE, and finished by Constantine after he had defeated Maxentius in the battle of the Milvian Bridge in 312 CE. As other similar buildings, it was destined for commercial and administrative activities. It is likely that the basilica housed the offices of the Prefect of the City, the highest imperial official in late antiquity.
The site chosen for the basilica was on the Velia, a low ridge connecting the Esquiline Hill and the Palatine Hill. Large parts of the Velia was levelled in preparation for the construction of the basilica. Literary sources tell that earlier the site was occupied by the Horrea Piperatica, the central market and storage facility for pepper and spices, built in the time of Domitian. Also on the site was a sanctuary of the penates publici which had to be moved.
The Basilica of Maxentius is built with arches, which is very atypical. All the other public basilicas had flat ceilings supported by wooden beams. The construction techniques used borrowed more from the great imperial baths than from the traditional basilica.
The basilica is one of the most impressive buildings on the Forum Romanum. The ground plan is rectangular, oriented E.-W., covering an area of 100×65m divided into a central nave and to lateral aisles and an atrium on the E. side where the original entrance was.
The central nave measured 80×25m and was covered by three groin vaults with a maximum height of 35m, supported by eight monolithic Corinthian columns of 14.5m. Each of the two aisles was made up of three interconnected coffered vaults, 20.5m wide and 24m high, communicating with the central nave by three huge openings.
Light was provided by two rows of three large windows in five of the six lateral vaults, and by windows in the sides of the now collapsed cross vaults over the central nave. The windows in two of the vaults in the surviving N. side of the building give a good idea of the amount of light inside the building.
The floor in both the central and the lateral spaces were a geometric pattern of squares with circles and lozenges of multi-coloured marble, similar to the floor in the Pantheon.
The walls were in opus latericium, originally with a marble veneer. The vaults were in opus caementicium with a gilded stucco finish. The roof was covered with gilded bronze tiles.
The entrance of the original project of Maxentius was to the east, from a branch of the old Via Sacra behind the Temple of Amor and Roma. It lead into an elongated atrium, connected to the central nave and the lateral aisles by five gateways.
In the W. end was a huge apse, 20m in diameter, where a colossal seated statue of Maxentius stood. This statue was later changed to look like Constantine. The statue was an acrolith (the head, hands and feet were of marble, while the rest was of other materials), and the remains of the statue were found in 1486 in the apse.
Constantine changed the plan when he took over the unfinished basilica. He had a another entrance added on the S. side, on the Via Sacra, where a monumental stairway led to a porch of four porphyry columns and via three double doorways into the central part of the S. aisle. In front of this new entrance, in the central vault of the N. aisle, another apse was added, smaller than the apse in the W. end. In back of this apse a niche held a standing statue of Constantine, and smaller, square-headed niches, two rows of four niches on each side, which might have housed a gallery of Constantine's relatives and lieutenants. This room could be closed by wooden doors, and it is likely the central part of the office of the Prefect of the City was there.
Of the original building only the three vaults of the N. aisle remain, devoid of all decorations. The vaults of the S. and central nave probably collapsed under an earthquake in c. 847. The floor plan is clearly visible, however, and the remaining structures give a vivid impression of the grandeur of the original edifice.
The remains of the Colossal Statue of Constantine I are in the courtyard of the Palazzo dei Conservatori on the Campidoglio, and one of the columns from the central nave was moved to the Piazza Santa Maria Maggiore in 1614. The remaining columns have disappeared. The bronze tiles from the roof were reused for the first Basilica of Saint Peter.
Peter Wissing
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Italy- Pompeii- The Basilica and The Forum BASILICA
Forum of Pompeii c. 120 B.C. These more massive columns are from the basilica, the most important public building in Pompeii. Constructed prior to the Roman period, the basilica had three aisles and five entrance doors onto the forum. In the rear we see a two-tiered colonnade which has columns in the Doric style on the bottom and slender Ionic columns on top of a cross beam. In Pompeii many columns were made of brick and covered with stucco.
The Forum
ENTRANCE TO THE FORUM Forum of Pompeii After 80 B.C. One of the two arches originally covered with marble which flank the Temple of Jupiter and are the main entrances to the forum. The temple was built under the Samnites in the second century B.C.
FORUM OF POMPEII After 80 B.C. The Forum of Pompeii has a central rectangular space, 466 feet long by 124 feet wide, surrounded by the most important public buildings in the city. Like other forums, it is set up on an axial plan. A colonnade lines three sides. In the center of the fourth side, visible in the distance, is the Temple of Jupiter, known as the Capitolium. The forum was paved with travertine stone and only pedestrians were permitted in its precinct. Situated on an old site, it was largely rebuilt after 80 B.C. when Pompeii became a Roman colony. The forum was again in the process of rebuilding after the earthquake of 62 AD. It was buried under the eruption of Vesuvius seen in the distance in 79.
Peter Wissing
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Italy- Pompeii- The big theatre and the Gladiator school in the backgroundThe big theatre
Built in the 2nd century BC, this theatre takes advantage of the natural slope of the land to create the tiers of seats (cavea), in a horseshoe shape divided into three zones, of which the lower (ima cavea), covered with marble, was reserved for the decurions and important citizens. The ring corridor supporting the upper tiers, and the 'balconies' above the side entrances, were added during the Augustan period: thus the theatre could hold approximately 5,000 spectators. The stage and opus latericium backdrop decorated with marbles and statues date from the restoration in 62 AD, after the earthquake. The works performed here quite likely included the Atellanae (popular farces in the Oscan language), the plays of Plautus and Terentius, mimes and pantomimes (with dancing and music).
Gladiators Barracks in the background.
This building was originally a meeting-place for spectators who went to the Great Theatre.
In Neros time it was converted to quarters for the gladiators who used to live there with their
families and used it to practice gladiatorial contests. The family living areas were spread over two floors.
Many fascinating weapons were discovered here and are on display in the Archeological Museum
Peter Wissing
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Italy- Pompeii- The Forum 1The Forum
ENTRANCE TO THE FORUM Forum of Pompeii After 80 B.C. One of the two arches originally covered with marble which flank the Temple of Jupiter and are the main entrances to the forum. The temple was built under the Samnites in the second century B.C.
FORUM OF POMPEII After 80 B.C. The Forum of Pompeii has a central rectangular space, 466 feet long by 124 feet wide, surrounded by the most important public buildings in the city. Like other forums, it is set up on an axial plan. A colonnade lines three sides. In the center of the fourth side, visible in the distance, is the Temple of Jupiter, known as the Capitolium. The forum was paved with travertine stone and only pedestrians were permitted in its precinct. Situated on an old site, it was largely rebuilt after 80 B.C. when Pompeii became a Roman colony. The forum was again in the process of rebuilding after the earthquake of 62 AD. It was buried under the eruption of Vesuvius seen in the distance in 79.
FORUM (VII,8)
The first monumental arrangement dates from the 2nd cent. BC, with a few buildings and the porticos with their double row of tufa columns, replaced with white limestone in the imperial age, when the site was repaved and buildings added on the east side where shops had previously stood. Located at the intersection between the two main streets of the original urban center, the Forum was the city's main square, where cart traffic was forbidden: it was surrounded on all sides by religious, political, and business buildings. In the 1st cent. AD the Forum highlighted the celebratory intention of the imperial house, where the monumental bases for commemorative statues were placed on the south side, in front of the city's administrative buildings, while those of illustrious citizens stood along the porticos : the sculptures have not been found, perhaps because they were removed by the people of Pompeii who returned after the eruption to take whatever they could. In the center of the western side stands an orators' tribune.
MEMORIAL ARCHES
In opus latericium, at one time covered with marble, these elegantly enclose the Forum to the north, in celebration of the imperial family. Of the two built on either side of the Temple of Jupiter, the one to the west is attributed to Augustus, the east to Nero, perhaps demolished following the death (68 AD) and sentencing of the emperor, or simply to avoid blocking the view of the other arch behind it, at the north entrance to the Forum. This has two niches on one side that once held statues of Nero and Drusus, on the other side two fountains; an equestrian statue (perhaps of the emperor Tiberius) topped this arch. The other arch, in the back at the start of Via di Mercurio, is called the Caligula Arch because an equestrian statue was found nearby, that may have depicted the emperor Caligula and probably stood on the arch.
Peter Wissing
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Italy- Pompeii- The Forum columns 1The Forum
ENTRANCE TO THE FORUM Forum of Pompeii After 80 B.C. One of the two arches originally covered with marble which flank the Temple of Jupiter and are the main entrances to the forum. The temple was built under the Samnites in the second century B.C.
FORUM OF POMPEII After 80 B.C. The Forum of Pompeii has a central rectangular space, 466 feet long by 124 feet wide, surrounded by the most important public buildings in the city. Like other forums, it is set up on an axial plan. A colonnade lines three sides. In the center of the fourth side, visible in the distance, is the Temple of Jupiter, known as the Capitolium. The forum was paved with travertine stone and only pedestrians were permitted in its precinct. Situated on an old site, it was largely rebuilt after 80 B.C. when Pompeii became a Roman colony. The forum was again in the process of rebuilding after the earthquake of 62 AD. It was buried under the eruption of Vesuvius seen in the distance in 79.
FORUM (VII,8)
The first monumental arrangement dates from the 2nd cent. BC, with a few buildings and the porticos with their double row of tufa columns, replaced with white limestone in the imperial age, when the site was repaved and buildings added on the east side where shops had previously stood. Located at the intersection between the two main streets of the original urban center, the Forum was the city's main square, where cart traffic was forbidden: it was surrounded on all sides by religious, political, and business buildings. In the 1st cent. AD the Forum highlighted the celebratory intention of the imperial house, where the monumental bases for commemorative statues were placed on the south side, in front of the city's administrative buildings, while those of illustrious citizens stood along the porticos : the sculptures have not been found, perhaps because they were removed by the people of Pompeii who returned after the eruption to take whatever they could. In the center of the western side stands an orators' tribune.
Peter Wissing
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Italy- Rome- Coliseum constructed by Flavius and seen from outsideColosseum
The Colosseum or Coliseum, originally known as the Flavian Amphitheatre (lat. Amphitheatrum Flavium), is an amphitheatre in Rome, capable of seating 50,000 spectators, which was once used for gladiatorial combat. It was built by Emperor Vespasian and his son, Titus, between AD 72 and AD 90. It was built at the site of Nero's enormous palace, the Domus Aurea. The Colosseum's name is derived from a colossus (a 130-foot or 40-metre statue) of Nero which once stood nearby.
Construction
The construction of the Colosseum began under the Emperor Vespasian in AD 72 and was completed by his son, Titus, in the 80s AD. It was built at the site of Nero's enormous palace, the Domus Aurea, which had been built after the great fire of Rome in AD 64. Some historians are of the opinion that the construction of the Colosseum might have been financed by the looting of King Herod the Great's Temple in Jerusalem which occurred about AD 70. Dio Cassius said that 9,000 wild animals were killed in the one hundred days of celebration which inaugurated the amphitheatre opening. The arena floor was covered with sand to sop up the blood.
The Colosseum hosted large-scale spectacular games that included fights between animals (venationes), the killing of prisoners by animals and other executions (noxii), naval battles (naumachiae, via flooding the arena), and combats between gladiators (munera). It has been estimated that between 500,000 and 1,000,000 people died in the Colosseum games.
History of the name Colosseum
The Colosseum's name is derived from a colossus (a 130-foot or 40-metre statue) of Nero nearby. This statue was later remodeled by Nero's successors into the likeness of Sol, the sun god, by adding the appropriate solar crown. The link to Nero's colossus seems to have been forgotten over time, and the name was corrupted to Coliseum in the Middle Ages. Both names are frequently used in modern English, but "Flavian Amphitheatre" is generally unknown. In Italy, it is still known as il colosseo, but other Romance languages have gone for forms such as le colisée and el coliseo.
Description
The Colosseum measured 48 metres high, 188 metres long, and 156 metres wide. The wooden arena floor was 86 metres by 54 metres, and covered by sand. Its elliptical shape kept the players from retreating to a corner, and allowed the spectators to be closer to the action than a circle would allow.
The Colosseum was ingeniously designed. It has been said that most spectacle venues (stadiums, and similar) have been influenced by features of the Colosseum's structure, even well into modern times. Seating (cavea) was divided into different sections. The podium, the first level of seating, was for the Roman senators, and the emperor's private, cushioned, marble box was also located on this level. Above the podium was the maenianum primum, for the other Roman aristocrats who were not in the senate. The third level, the maenianum secundum, was divided into three sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. A third, wooden section (the maenianum secundum in legneis) was a wooden structure at the very top of the building, added by Domitian. It was standing room only, and was for lower class women.
Underneath the arena was the hypogeum (literally, "underground"), a network of tunnels and cages where gladiators and animals were held before contests began. There were also numerous trap doors in the arena floor for the various animals hidden underneath. The arena floor no longer exists, and the hypogeum walls and corridors are clearly visible in the ruins of the building. The entire base of the Colosseum was equivalent to 6 acres (160,000 m²).
A most ingenious part of the Colosseum was its cooling system. It was roofed using a canvas covered net-like structure made of ropes, with a hole in the center. This roof sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors manipulated the ropes. The Colosseum also had vomitoria - passageways that open into a tier of seats from below or behind. The vomitoria of the Colosseum in Rome were designed so that the immense venue could fill in 15 minutes, and be evacuated in 5 minutes. Each entrance and exit was numbered, as was each staircase. There were 80 entrances at ground level, 76 for ordinary spectators, two for the imperial family, and two for the gladiators. The vomitoria quickly dispersed people into their seats and upon conclusion of the event disgorged them with abruptness into the surrounding streets - giving rise, presumably, to the name.
Later history
The Colosseum was in continuous use until 217, when it was damaged by fire after it was struck by lightning. It was restored in 238 and gladiatorial games continued until Christianity gradually put an end to those parts of them which included the death of humans. The building was used for various purposes, mostly venationes (animal hunts), until 524. Two earthquakes (in 442 and 508) caused a great damage to the structure. In the Middle Ages, it was severely damaged by further earthquakes (847 and 1349), and was then converted into a fortress. The marble that originally covered it was burned to make quicklime. During the Renaissance, but mostly in the Baroque age, the ruling Roman families (from which many popes came) used it as a source of marble for the construction of St. Peter's Basilica and the private Palazzi. A famous description is in the saying Quod non fecerunt Barbari, fecerunt Barberini; what the Barbarians weren't able to do, was done by the Barberinis (one such family).
The Venerable Bede (c. 672-735) wrote
Quandiu stabit coliseus, stabit et Roma; (As long as the Colosseum stands, so shall Rome)
Quando cadit coliseus, cadet et Roma (When the Colosseum falls, so shall Rome)
Quando cadet Roma, cadet et mundus. (When Rome falls, so shall the world)
Note that he used coliseus, i.e. he made the name a masculine noun. This form is no longer in use.
In 1749, as a very early example of historic preservation, Pope Benedict XIV forbade the use of the Colosseum as a quarry. He consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who were thought to have perished there. Later popes initiated various stabilization and restoration projects. Every Good Friday the pope leads a procession within the ellipse in memory of Christian martyrs. However, there is no historical evidence that Christians were tortured and killed in the Colosseum [2]. It is presumed that the majority of Christian martyrdom in Rome took place at the Circus Maximus.
In recent years, the local authorities of Rome have illuminated the Colosseum all night long whenever someone condemned to the death penalty gets commuted or released.
Peter Wissing
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Italy- Rome- Coliseum seen from outsideColosseum
The Colosseum or Coliseum, originally known as the Flavian Amphitheatre (lat. Amphitheatrum Flavium), is an amphitheatre in Rome, capable of seating 50,000 spectators, which was once used for gladiatorial combat. It was built by Emperor Vespasian and his son, Titus, between AD 72 and AD 90. It was built at the site of Nero's enormous palace, the Domus Aurea. The Colosseum's name is derived from a colossus (a 130-foot or 40-metre statue) of Nero which once stood nearby.
Construction
The construction of the Colosseum began under the Emperor Vespasian in AD 72 and was completed by his son, Titus, in the 80s AD. It was built at the site of Nero's enormous palace, the Domus Aurea, which had been built after the great fire of Rome in AD 64. Some historians are of the opinion that the construction of the Colosseum might have been financed by the looting of King Herod the Great's Temple in Jerusalem which occurred about AD 70. Dio Cassius said that 9,000 wild animals were killed in the one hundred days of celebration which inaugurated the amphitheatre opening. The arena floor was covered with sand to sop up the blood.
The Colosseum hosted large-scale spectacular games that included fights between animals (venationes), the killing of prisoners by animals and other executions (noxii), naval battles (naumachiae, via flooding the arena), and combats between gladiators (munera). It has been estimated that between 500,000 and 1,000,000 people died in the Colosseum games.
History of the name Colosseum
The Colosseum's name is derived from a colossus (a 130-foot or 40-metre statue) of Nero nearby. This statue was later remodeled by Nero's successors into the likeness of Sol, the sun god, by adding the appropriate solar crown. The link to Nero's colossus seems to have been forgotten over time, and the name was corrupted to Coliseum in the Middle Ages. Both names are frequently used in modern English, but "Flavian Amphitheatre" is generally unknown. In Italy, it is still known as il colosseo, but other Romance languages have gone for forms such as le colisée and el coliseo.
Description
The Colosseum measured 48 metres high, 188 metres long, and 156 metres wide. The wooden arena floor was 86 metres by 54 metres, and covered by sand. Its elliptical shape kept the players from retreating to a corner, and allowed the spectators to be closer to the action than a circle would allow.
The Colosseum was ingeniously designed. It has been said that most spectacle venues (stadiums, and similar) have been influenced by features of the Colosseum's structure, even well into modern times. Seating (cavea) was divided into different sections. The podium, the first level of seating, was for the Roman senators, and the emperor's private, cushioned, marble box was also located on this level. Above the podium was the maenianum primum, for the other Roman aristocrats who were not in the senate. The third level, the maenianum secundum, was divided into three sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. A third, wooden section (the maenianum secundum in legneis) was a wooden structure at the very top of the building, added by Domitian. It was standing room only, and was for lower class women.
Underneath the arena was the hypogeum (literally, "underground"), a network of tunnels and cages where gladiators and animals were held before contests began. There were also numerous trap doors in the arena floor for the various animals hidden underneath. The arena floor no longer exists, and the hypogeum walls and corridors are clearly visible in the ruins of the building. The entire base of the Colosseum was equivalent to 6 acres (160,000 m²).
A most ingenious part of the Colosseum was its cooling system. It was roofed using a canvas covered net-like structure made of ropes, with a hole in the center. This roof sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors manipulated the ropes. The Colosseum also had vomitoria - passageways that open into a tier of seats from below or behind. The vomitoria of the Colosseum in Rome were designed so that the immense venue could fill in 15 minutes, and be evacuated in 5 minutes. Each entrance and exit was numbered, as was each staircase. There were 80 entrances at ground level, 76 for ordinary spectators, two for the imperial family, and two for the gladiators. The vomitoria quickly dispersed people into their seats and upon conclusion of the event disgorged them with abruptness into the surrounding streets - giving rise, presumably, to the name.
Later history
The Colosseum was in continuous use until 217, when it was damaged by fire after it was struck by lightning. It was restored in 238 and gladiatorial games continued until Christianity gradually put an end to those parts of them which included the death of humans. The building was used for various purposes, mostly venationes (animal hunts), until 524. Two earthquakes (in 442 and 508) caused a great damage to the structure. In the Middle Ages, it was severely damaged by further earthquakes (847 and 1349), and was then converted into a fortress. The marble that originally covered it was burned to make quicklime. During the Renaissance, but mostly in the Baroque age, the ruling Roman families (from which many popes came) used it as a source of marble for the construction of St. Peter's Basilica and the private Palazzi. A famous description is in the saying Quod non fecerunt Barbari, fecerunt Barberini; what the Barbarians weren't able to do, was done by the Barberinis (one such family).
The Venerable Bede (c. 672-735) wrote
Quandiu stabit coliseus, stabit et Roma; (As long as the Colosseum stands, so shall Rome)
Quando cadit coliseus, cadet et Roma (When the Colosseum falls, so shall Rome)
Quando cadet Roma, cadet et mundus. (When Rome falls, so shall the world)
Note that he used coliseus, i.e. he made the name a masculine noun. This form is no longer in use.
In 1749, as a very early example of historic preservation, Pope Benedict XIV forbade the use of the Colosseum as a quarry. He consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who were thought to have perished there. Later popes initiated various stabilization and restoration projects. Every Good Friday the pope leads a procession within the ellipse in memory of Christian martyrs. However, there is no historical evidence that Christians were tortured and killed in the Colosseum [2]. It is presumed that the majority of Christian martyrdom in Rome took place at the Circus Maximus.
In recent years, the local authorities of Rome have illuminated the Colosseum all night long whenever someone condemned to the death penalty gets commuted or released.
Peter Wissing
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|
Italy- Rome- Coliseum seen from outside 1Colosseum
The Colosseum or Coliseum, originally known as the Flavian Amphitheatre (lat. Amphitheatrum Flavium), is an amphitheatre in Rome, capable of seating 50,000 spectators, which was once used for gladiatorial combat. It was built by Emperor Vespasian and his son, Titus, between AD 72 and AD 90. It was built at the site of Nero's enormous palace, the Domus Aurea. The Colosseum's name is derived from a colossus (a 130-foot or 40-metre statue) of Nero which once stood nearby.
Construction
The construction of the Colosseum began under the Emperor Vespasian in AD 72 and was completed by his son, Titus, in the 80s AD. It was built at the site of Nero's enormous palace, the Domus Aurea, which had been built after the great fire of Rome in AD 64. Some historians are of the opinion that the construction of the Colosseum might have been financed by the looting of King Herod the Great's Temple in Jerusalem which occurred about AD 70. Dio Cassius said that 9,000 wild animals were killed in the one hundred days of celebration which inaugurated the amphitheatre opening. The arena floor was covered with sand to sop up the blood.
The Colosseum hosted large-scale spectacular games that included fights between animals (venationes), the killing of prisoners by animals and other executions (noxii), naval battles (naumachiae, via flooding the arena), and combats between gladiators (munera). It has been estimated that between 500,000 and 1,000,000 people died in the Colosseum games.
History of the name Colosseum
The Colosseum's name is derived from a colossus (a 130-foot or 40-metre statue) of Nero nearby. This statue was later remodeled by Nero's successors into the likeness of Sol, the sun god, by adding the appropriate solar crown. The link to Nero's colossus seems to have been forgotten over time, and the name was corrupted to Coliseum in the Middle Ages. Both names are frequently used in modern English, but "Flavian Amphitheatre" is generally unknown. In Italy, it is still known as il colosseo, but other Romance languages have gone for forms such as le colisée and el coliseo.
Description
The Colosseum measured 48 metres high, 188 metres long, and 156 metres wide. The wooden arena floor was 86 metres by 54 metres, and covered by sand. Its elliptical shape kept the players from retreating to a corner, and allowed the spectators to be closer to the action than a circle would allow.
The Colosseum was ingeniously designed. It has been said that most spectacle venues (stadiums, and similar) have been influenced by features of the Colosseum's structure, even well into modern times. Seating (cavea) was divided into different sections. The podium, the first level of seating, was for the Roman senators, and the emperor's private, cushioned, marble box was also located on this level. Above the podium was the maenianum primum, for the other Roman aristocrats who were not in the senate. The third level, the maenianum secundum, was divided into three sections. The lower part (the immum) was for wealthy citizens, while the upper part (the summum) was for poor citizens. A third, wooden section (the maenianum secundum in legneis) was a wooden structure at the very top of the building, added by Domitian. It was standing room only, and was for lower class women.
Underneath the arena was the hypogeum (literally, "underground"), a network of tunnels and cages where gladiators and animals were held before contests began. There were also numerous trap doors in the arena floor for the various animals hidden underneath. The arena floor no longer exists, and the hypogeum walls and corridors are clearly visible in the ruins of the building. The entire base of the Colosseum was equivalent to 6 acres (160,000 m²).
A most ingenious part of the Colosseum was its cooling system. It was roofed using a canvas covered net-like structure made of ropes, with a hole in the center. This roof sloped down towards the center to catch the wind and provide a breeze for the audience. Sailors manipulated the ropes. The Colosseum also had vomitoria - passageways that open into a tier of seats from below or behind. The vomitoria of the Colosseum in Rome were designed so that the immense venue could fill in 15 minutes, and be evacuated in 5 minutes. Each entrance and exit was numbered, as was each staircase. There were 80 entrances at ground level, 76 for ordinary spectators, two for the imperial family, and two for the gladiators. The vomitoria quickly dispersed people into their seats and upon conclusion of the event disgorged them with abruptness into the surrounding streets - giving rise, presumably, to the name.
Later history
The Colosseum was in continuous use until 217, when it was damaged by fire after it was struck by lightning. It was restored in 238 and gladiatorial games continued until Christianity gradually put an end to those parts of them which included the death of humans. The building was used for various purposes, mostly venationes (animal hunts), until 524. Two earthquakes (in 442 and 508) caused a great damage to the structure. In the Middle Ages, it was severely damaged by further earthquakes (847 and 1349), and was then converted into a fortress. The marble that originally covered it was burned to make quicklime. During the Renaissance, but mostly in the Baroque age, the ruling Roman families (from which many popes came) used it as a source of marble for the construction of St. Peter's Basilica and the private Palazzi. A famous description is in the saying Quod non fecerunt Barbari, fecerunt Barberini; what the Barbarians weren't able to do, was done by the Barberinis (one such family).
The Venerable Bede (c. 672-735) wrote
Quandiu stabit coliseus, stabit et Roma; (As long as the Colosseum stands, so shall Rome)
Quando cadit coliseus, cadet et Roma (When the Colosseum falls, so shall Rome)
Quando cadet Roma, cadet et mundus. (When Rome falls, so shall the world)
Note that he used coliseus, i.e. he made the name a masculine noun. This form is no longer in use.
In 1749, as a very early example of historic preservation, Pope Benedict XIV forbade the use of the Colosseum as a quarry. He consecrated the building to the Passion of Christ and installed Stations of the Cross, declaring it sanctified by the blood of the Christian martyrs who were thought to have perished there. Later popes initiated various stabilization and restoration projects. Every Good Friday the pope leads a procession within the ellipse in memory of Christian martyrs. However, there is no historical evidence that Christians were tortured and killed in the Colosseum [2]. It is presumed that the majority of Christian martyrdom in Rome took place at the Circus Maximus.
In recent years, the local authorities of Rome have illuminated the Colosseum all night long whenever someone condemned to the death penalty gets commuted or released.
Peter Wissing
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Italy- Rome- Forum Romanum and the Basilica of MajencioThe Basilica of Maxentius (Basilica Maxentii) or the Basilica of Constantine (Basilica Constantini) was the last of the great civilian basilicas on the Roman Forum. The ruins of the basilica is located between the Temple of Amor and Roma and the Temple of Romulus, on the Via Sacra.
The construction of the basilica was initiated by Maxentius in 308 CE, and finished by Constantine after he had defeated Maxentius in the battle of the Milvian Bridge in 312 CE. As other similar buildings, it was destined for commercial and administrative activities. It is likely that the basilica housed the offices of the Prefect of the City, the highest imperial official in late antiquity.
The site chosen for the basilica was on the Velia, a low ridge connecting the Esquiline Hill and the Palatine Hill. Large parts of the Velia was levelled in preparation for the construction of the basilica. Literary sources tell that earlier the site was occupied by the Horrea Piperatica, the central market and storage facility for pepper and spices, built in the time of Domitian. Also on the site was a sanctuary of the penates publici which had to be moved.
The Basilica of Maxentius is built with arches, which is very atypical. All the other public basilicas had flat ceilings supported by wooden beams. The construction techniques used borrowed more from the great imperial baths than from the traditional basilica.
The basilica is one of the most impressive buildings on the Forum Romanum. The ground plan is rectangular, oriented E.-W., covering an area of 100×65m divided into a central nave and to lateral aisles and an atrium on the E. side where the original entrance was.
The central nave measured 80×25m and was covered by three groin vaults with a maximum height of 35m, supported by eight monolithic Corinthian columns of 14.5m. Each of the two aisles was made up of three interconnected coffered vaults, 20.5m wide and 24m high, communicating with the central nave by three huge openings.
Light was provided by two rows of three large windows in five of the six lateral vaults, and by windows in the sides of the now collapsed cross vaults over the central nave. The windows in two of the vaults in the surviving N. side of the building give a good idea of the amount of light inside the building.
The floor in both the central and the lateral spaces were a geometric pattern of squares with circles and lozenges of multi-coloured marble, similar to the floor in the Pantheon.
The walls were in opus latericium, originally with a marble veneer. The vaults were in opus caementicium with a gilded stucco finish. The roof was covered with gilded bronze tiles.
The entrance of the original project of Maxentius was to the east, from a branch of the old Via Sacra behind the Temple of Amor and Roma. It lead into an elongated atrium, connected to the central nave and the lateral aisles by five gateways.
In the W. end was a huge apse, 20m in diameter, where a colossal seated statue of Maxentius stood. This statue was later changed to look like Constantine. The statue was an acrolith (the head, hands and feet were of marble, while the rest was of other materials), and the remains of the statue were found in 1486 in the apse.
Constantine changed the plan when he took over the unfinished basilica. He had a another entrance added on the S. side, on the Via Sacra, where a monumental stairway led to a porch of four porphyry columns and via three double doorways into the central part of the S. aisle. In front of this new entrance, in the central vault of the N. aisle, another apse was added, smaller than the apse in the W. end. In back of this apse a niche held a standing statue of Constantine, and smaller, square-headed niches, two rows of four niches on each side, which might have housed a gallery of Constantine's relatives and lieutenants. This room could be closed by wooden doors, and it is likely the central part of the office of the Prefect of the City was there.
Of the original building only the three vaults of the N. aisle remain, devoid of all decorations. The vaults of the S. and central nave probably collapsed under an earthquake in c. 847. The floor plan is clearly visible, however, and the remaining structures give a vivid impression of the grandeur of the original edifice.
The remains of the Colossal Statue of Constantine I are in the courtyard of the Palazzo dei Conservatori on the Campidoglio, and one of the columns from the central nave was moved to the Piazza Santa Maria Maggiore in 1614. The remaining columns have disappeared. The bronze tiles from the roof were reused for the first Basilica of Saint Peter.
Peter Wissing
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Italy- Rome- Forum Romanum The Basilica of Majencio and the temple of CastorsThe Basilica of Maxentius (Basilica Maxentii) or the Basilica of Constantine (Basilica Constantini) was the last of the great civilian basilicas on the Roman Forum. The ruins of the basilica is located between the Temple of Amor and Roma and the Temple of Romulus, on the Via Sacra.
The construction of the basilica was initiated by Maxentius in 308 CE, and finished by Constantine after he had defeated Maxentius in the battle of the Milvian Bridge in 312 CE. As other similar buildings, it was destined for commercial and administrative activities. It is likely that the basilica housed the offices of the Prefect of the City, the highest imperial official in late antiquity.
The site chosen for the basilica was on the Velia, a low ridge connecting the Esquiline Hill and the Palatine Hill. Large parts of the Velia was levelled in preparation for the construction of the basilica. Literary sources tell that earlier the site was occupied by the Horrea Piperatica, the central market and storage facility for pepper and spices, built in the time of Domitian. Also on the site was a sanctuary of the penates publici which had to be moved.
The Basilica of Maxentius is built with arches, which is very atypical. All the other public basilicas had flat ceilings supported by wooden beams. The construction techniques used borrowed more from the great imperial baths than from the traditional basilica.
The basilica is one of the most impressive buildings on the Forum Romanum. The ground plan is rectangular, oriented E.-W., covering an area of 100×65m divided into a central nave and to lateral aisles and an atrium on the E. side where the original entrance was.
The central nave measured 80×25m and was covered by three groin vaults with a maximum height of 35m, supported by eight monolithic Corinthian columns of 14.5m. Each of the two aisles was made up of three interconnected coffered vaults, 20.5m wide and 24m high, communicating with the central nave by three huge openings.
Light was provided by two rows of three large windows in five of the six lateral vaults, and by windows in the sides of the now collapsed cross vaults over the central nave. The windows in two of the vaults in the surviving N. side of the building give a good idea of the amount of light inside the building.
The floor in both the central and the lateral spaces were a geometric pattern of squares with circles and lozenges of multi-coloured marble, similar to the floor in the Pantheon.
The walls were in opus latericium, originally with a marble veneer. The vaults were in opus caementicium with a gilded stucco finish. The roof was covered with gilded bronze tiles.
The entrance of the original project of Maxentius was to the east, from a branch of the old Via Sacra behind the Temple of Amor and Roma. It lead into an elongated atrium, connected to the central nave and the lateral aisles by five gateways.
In the W. end was a huge apse, 20m in diameter, where a colossal seated statue of Maxentius stood. This statue was later changed to look like Constantine. The statue was an acrolith (the head, hands and feet were of marble, while the rest was of other materials), and the remains of the statue were found in 1486 in the apse.
Constantine changed the plan when he took over the unfinished basilica. He had a another entrance added on the S. side, on the Via Sacra, where a monumental stairway led to a porch of four porphyry columns and via three double doorways into the central part of the S. aisle. In front of this new entrance, in the central vault of the N. aisle, another apse was added, smaller than the apse in the W. end. In back of this apse a niche held a standing statue of Constantine, and smaller, square-headed niches, two rows of four niches on each side, which might have housed a gallery of Constantine's relatives and lieutenants. This room could be closed by wooden doors, and it is likely the central part of the office of the Prefect of the City was there.
Of the original building only the three vaults of the N. aisle remain, devoid of all decorations. The vaults of the S. and central nave probably collapsed under an earthquake in c. 847. The floor plan is clearly visible, however, and the remaining structures give a vivid impression of the grandeur of the original edifice.
The remains of the Colossal Statue of Constantine I are in the courtyard of the Palazzo dei Conservatori on the Campidoglio, and one of the columns from the central nave was moved to the Piazza Santa Maria Maggiore in 1614. The remaining columns have disappeared. The bronze tiles from the roof were reused for the first Basilica of Saint Peter.
Peter Wissing
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Italy- Rome- Largo (di Torre) ArgentinaLargo di Torre Argentina is a square in Rome that hosts four Republican Roman temples, and the reminings of Pompey's Theater. It is located in the ancient Campus Martius.
Common knowledge refers the name of the square to a Torre Argentina, which is not related to the South American country, but to the city of Strasbourg, whose original name was Argentoratum. In 1503, in fact, John Burckhardt from Strasbourg built in via del Sudario a palace (now at number 44), Casa del Bucardo, annexing a tower, called Torre Argentoratina from the name of his hometown.
After Italian unification, it was decided to reconstruct part of Rome (1909), demolishing the zone of Torre Argentina, where the remainings of a medieval tower, Torre Papito or Torre Boccamazzi, and of one temple were to be included in the new buildings. During the works (1927), however, the colossal head and arms of a marble statue were discovered. The archeological investigation brought to light the presence of a holy area, dating to the Republican era, with four temples and part of Pompey's Theater.
The buildings
The four temples, designated today by the letters A, B, C, and D, front onto a paved street, which was reconstructed in the imperial era, after 80 AD fire.
Temple A was built in the 3rd century BC, and is probably the Temple of Juturna built by Gaius Lutatius Catulus after his victory against Carthaginians in 241 BC. It was later rebuilt into a church, whoes aprses are still present.
Temple B, a circular temple with six columns remaining, was built by Quintus Lutatius Catulus in 101 BC to celebrate his victory over Cimbri; it was Aedes Fortunae Huiusce Diei, a temple devoted to the Luck of the Current Day. The colossal statue found during excavations and now kept in the Capitoline Museums was the statue of the goddess herself. Only the head, the arms, and the legs were of marble: the other parts, covered by the dress, were of bronze.
Temple C is the most ancient of the three, dating back to 4th or 3rd century BC, and was probably devoted to Feronia the ancient Italic goddess of fertility. After the fire of 80 AD, this temple was restored, and the white and black mosaic of the inner temple cell dates back to this restoration.
Temple D is the largest of the four, dates back to 2nd century BC with Late Republican restorations, and was devoted to Lares Permarini, but only a small part of it has been excavated (a street covers the most of it).
Teatro Argentina is a 18th century theater, where Gioachino Rossini's The Barber of Seville debuted in 1816, as well as Giuseppe Verdi's I due Foscari (1844) and La battaglia di Legnano (1849).
Located in the Largo Argentina is the Torre Argentina Cat Sanctuary, a no-kill shelter for homeless cats (of which Rome has many). The presence of the shelter proves to be a point of interest for both tourists and locals, as the historical area abounds with various breeds of cat, cavorting and lounging about on the ancient (and semi-ancient) ruins.
Peter Wissing
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Italy- Rome- Pyramid of cestiusPyramid of Cestius. In a country of extravagant tombs, this one definitely deserves a peek. Built in only 330 days in the year 12 BC, by a wealthy (and megalomaniacal) Roman who had spent time in Egypt, it is covered with marble and has survived all these years intact. Piazzale Ostiense. This pyramid was built during the last years of the Republic (1st century B.C.) to hold the ashes of Caius Cestius, Praetor, Tribune and Septemvirate of the Epulos, as the inscriptions recall. Peter Wissing
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Italy- Rome- The Arch of Constantine The GreatArch of Constantine
The Arch of Constantine is a triumphal arch in Rome, situated between the Colosseum and the Palatine Hill. It was erected to commemorate Constantine's victory over Maxentius at the Battle of Milvian Bridge on October 28, 312 AD. Dedicated in 315 AD, it is the latest of the extant triumphal arches in Rome, from which it differs by the extensive re-use of parts of earlier buildings.
General Description
The arch is 21 m high, 25.7 m wide and 7.4 m deep. It has three archways, the central one being 11.5 m high and 6.5 m wide, the lateral archways 7.4 m by 3.4 m each. The lower part of the monument is built of marble blocks, the top (called attic) is brickwork revetted with marble. A staircase formed in the thickness of the arch is entered from a door at some height from the ground, in the end towards the Palatine Hill. The general design with a main part structured by detached columns and an attic with the main inscription above is modelled after the example of the Arch of Septimius Severus on the Forum Romanum. It has been suggested that the lower part of the arch is re-used from an older monument, probably from the times of the emperor Hadrian (Conforto et al., 2001; for a defence of the view that the whole arch was constructed in the 4th century, see Pensabene & Panella). The arch spans the Via Triumphalis, the way taken by the emperors when they entered the city in triumph. This route started at the Campus Martius, led through the Circus Maximus and around the Palatine Hill; immediately after the Arch of Constantine, the procession would turn left and march along the Via Sacra to the Forum Romanum and on to the Capitoline Hill, passing both the Arches of Titus and Septimius Severus. During the Middle Ages, the Arch of Constantine was incorporated into one of the family strongholds of ancient Rome. Works of restoration were first carried out in the 18th century; the last excavations have taken place in the late 1990s, just before the Great Jubilee of 2000.
Decoration
The decoration of the arch heavily uses parts of older monuments, which are given a new meaning in the context of the Constantinian building. As it celebrates the victory of Constantine, the new "historic" friezes illustrating his campaign in Italy convey the central meaning: the praise of the emperor, both in battle and in his civilian duties. The other imagery supports this purpose: decoration taken from the "golden times" of the Empire under Trajan, Hadrian and Marcus Aurelius places Constantine next to these "good emperors", and the content of the pieces evokes images of the victorious and pious ruler. Another explanation given for the re-use is the short time between the start of construction (late 312 at the earliest) and the dedication (summer 315), so the architects used existing artwork to make up for the lack of time to create new one. As yet another possible reason, it has often been suggested that the Romans of the 4th century lacked the artistic skill to produce acceptable artwork and therefore plundered the ancient buildings to adorn their contemporary monuments. This interpretation has become less prominent in more recent times, as the art of Late Antiquity has been appreciated in its own right. It is, of course, possible that a combination of two or all three of those explanations are correct, as they are not mutually exclusive.
Attic
Above the middle archway, the main inscription (see below) takes the most prominent place of the attic. It is identical on both sides of the arch. Flanking the inscription on both sides, there are pairs of relief panels above the minor archways, 8 in total. They were taken from an unknown monument erected in honour of Marcus Aurelius, and show (north side, left to right) the emperor's return to Rome after the campaign (adventus), the emperor leaving the city and saluted by a personification of the Via Flaminia, the emperor distributing money among the people (largitio), the emperor interrogating a German prisoner, (south side, left to right) a captured enemy chieftain led before the emperor, a similar scene with other prisoners, the emperor speaking to the troops (adlocutio), and the emperor sacrificing pig, sheep and bull. Together with three panels now in the Capitoline Museum, the reliefs were probably taken from a triumphal monument commemorating Marcus Aurelius' war against the Sarmatians from 169 - 175, which ended with his triumphant return in 176. On the largitio panel, the figure of Marcus Aurelius' son Commodus has been eradicated after the latter's damnatio memoriae. On top of each of the columns stand marble statues of Dacian prisoners from the times of Trajan, probably taken from the Forum of Trajan. From the same time date the two large (3 m high) panels decorating the attic on the small sides of the arch, showing scenes from the emperor's Dacian Wars. Together with the two reliefs on the inside of the central archway, they came from a large frieze celebrating the Dacian victory. The original place of this frieze was either the Forum of Trajan, as well, or the barracks of the emperor's horse guard on the Caelius.
Main Section
The general layout of the main facade is identical on both sides of the arch. It is divided by four columns of Corinthian order made of Numidian yellow marble (giallo antico), one of which has been transferred into the Basilica di San Giovanni in Laterano and was replaced by a white marble column. The columns stand on bases showing victory figures on front, and captured barbarians and Roman soldiers on the sides. The spandrels of the main archway are decorated with reliefs depicting victory figures with trophies, those of the smaller archways show river gods. Column bases and spandrel reliefs are from the times of Constantine. Above each lateral archway are pairs of round reliefs dated to the times of emperor Hadrian. They display scenes of hunting and sacrificing: (north side, left to right) hunt of a boar, sacrifice to Apollo, hunt of a lion, sacrifice to Hercules, (south side, left to right) departure for the hunt, sacrifice to Silvanus, hunt of a bear, sacrifice to Diana. The head of the emperor (originally Hadrian) has been reworked in all medaillons: on the north side, into Constantine in the hunting scenes and into Licinius or Constantius I in the sacrifice scenes; on the south side, vice versa. The reliefs, c. 2 m in diameter, were framed in porphyry; this framing is only extant on the right side of the northern facade. Similar medaillons, this time of Constantinian origin, are placed on the small sides of the arch; on the eastern side, showing the Sun rising, and on the western side, the Moon, both on chariots. The main piece from the time of Constantine is the "historical" relief frieze running around the monument under the round panels, one strip above each lateral archway and at the small sides of the arch. These reliefs depict scenes from the Italian campaign of Constantine against Maxentius which was the reason for the construction of the monument. The frieze starts at the western side with the "Departure from Milan". It continues on the southern, "outward" looking face, with the siege of a city, probably Verona, which was of great importance to the war in Northern Italy; also on that face, the Battle of Milvian Bridge with Constantine's army victorious and the enemy drowning in the river Tiber. On the eastern side, Constantine and his army enter Rome; the artist here has avoided to use the imagery of the triumph, as Constantine probably did not want to be shown triumphant over the Eternal City. On the northern face, looking "towards" the city, two strips with the emperor's actions after taking possession of Rome: Constantine speaking to the citizens on the Forum Romanum, and distributing money to the people.
Inner Sides of the Archways
In the central archway, there is one of the large panels of Trajan's Dacian War on either wall. Inside the lateral archways, eight portraits busts (two on each wall), destroyed to such an extent that it is not possible to identify them any more.
Inscriptions
The main inscription reads:
IMP · CAES · FL · CONSTANTINO · MAXIMO · P · F · AVGUSTO · S · P · Q · R · QVOD · INSTINCTV · DIVINITATIS · MENTIS · MAGNITVDINE · CVM · EXERCITV · SVO · TAM · DE · TYRANNO · QVAM · DE · OMNI · EIVS · FACTIONE · VNO · TEMPORE · IVSTIS · REM-PUBLICAM · VLTVS · EST · ARMIS · ARCVM · TRIVMPHIS · INSIGNEM · DICAVIT
Which means in English:
To the Emperor Caesar Flavius Constantinus, the greatest, pious, and blessed Augustus: because he, inspired by the divine, and by the greatness of his mind, has delivered the state from the tyrant and all of his followers at the same time, with his army and just force of arms, the Senate and People of Rome have dedicated this arch, decorated with triumphs.
The words instinctu divinitatis ("inspired by the divine") have been much commented. They are usually read as sign of Constantine's shifting religious affiliation: The Christian tradition, most notably Lactantius and Eusebius of Caesarea, relate the story of a vision of the Christian god to Constantine during the campaign, and that he was victorious in the sign of the cross at the Milvian Bridge. The official documents (esp. coins) still prominently display the Sun God until 324 AD, while Constantine started to support the Christian church from 312 on. In this situation, the vague wording of the inscription can be seen as the attempt to please all possible readers, being deliberately ambiguous, and acceptable to both pagans and Christians. As was customary, the vanquished enemy is not mentioned by name, but only referred to as "the tyrant", drawing on the notion of the rightful killing of a tyrannical ruler; together with the image of the "just war", it serves as justification of Constantine's civil war against his co-emperor Maxentius.
Two short inscriptions on the inside of the central archway transport a similar message: Constantine came not as conqueror, but freed Rome from occupation:
LIBERATORI VRBIS (liberator of the city) - FUNDATORI QVIETIS (founder of peace)
Over each of the small archways, inscriptions read:
VOTIS X - VOTIS XX SIC X - SIC XX
They give a hint on the date of the arch: "Solemn vows for the 10th anniversary - for the 20th anniversary" and "as for the 10th, so for the 20th anniversary". Both refer to Constantine's decennalia, i.e. the 10th anniversary of his reign (counted from 306), which he celebrated in Rome in the summer of 315 AD. It can be assumed that the arch honouring his victory was inaugurated during his stay in the city.
Peter Wissing
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Italy- Rome- The Arch of TitoThe Arch of Titus (Arcus Titi) is a triumphal arch that commemorates the victory of the emperors Vespasian and Titus in Judea in 70 CE, which lead to the conquest of Jerusalem and the destruction of the Jewish temple there, and the triumphal procession the two held in Rome in 71 CE. It is situated at the E. entrance to the Forum Romanum, on the Via Sacra, south of the Temple of Amor and Roma, close to the Colosseum.
The arch was definitely erected sometimes after after the death of Titus in 81 CE, since Titus is referred to as Divus in the inscription. The deification of an emperor only happened posthumously after decision by the senate. It was most probably erected by emperor Domitian who succeeded his brother Titus in 81 CE, but it has also been suggested that it was built later, by Trajan, because of stylistic similarities with the Arch of Trajan at Benevento.
The Arch of Titus is a single arch, measuring 15.4m in height, 13.5m in width and 4.75m in depth, originally constructed entirely in Pantelic marble, with four semi-columns on each side. The external decorations include figures of Victoria with trophies on the spandrels and images of Roma and the Genius of Rome on the two keystones.
The inscription on the E. side is the original dedication of the arch by the senate. It reads:
Senatus
Populusque Romanus
divo Tito divo Vespasiani f(ilio)
Vespasiano Augusto
The senate
and people of Rome
to the divine Titus, son of the divine Vespasian,
Vespasianus Augustus
The inside the archway the monument is decorated with reliefs in marble. The S. side shows the beginning of the triumphal entry into Rome of the victorious emperor and his troops. The soldiers, walking left to right, are carrying the spoils of war, which include the seven armed candelabrum and the silver trumpets from the temple of Jerusalem. The signs carried by some soldiers displayed the names of the conquered cities and people. To the right the procession is entering the city through the Porta Triumphalis.
The N. side of the arch is decorated with a relief of the emperor in the triumphal procession. The emperor is riding a quadriga, which is lead by the goddess Roma, and he is crowned by Victoria flying above him. The lictors are walking in front of the chariot with their long ceremonial axes. After the emperor follow as a young man, who represents the Roman people, and an older man in toga, representing the senate. In the middle, under the vault a small relief shows the apotheosis of Titus, flying to the heavens on the back of an eagle.
Peter Wissing
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Italy- Rome- The arch of Tito and inside the archesThe Arch of Titus (Arcus Titi) is a triumphal arch that commemorates the victory of the emperors Vespasian and Titus in Judea in 70 CE, which lead to the conquest of Jerusalem and the destruction of the Jewish temple there, and the triumphal procession the two held in Rome in 71 CE. It is situated at the E. entrance to the Forum Romanum, on the Via Sacra, south of the Temple of Amor and Roma, close to the Colosseum.
The arch was definitely erected sometimes after after the death of Titus in 81 CE, since Titus is referred to as Divus in the inscription. The deification of an emperor only happened posthumously after decision by the senate. It was most probably erected by emperor Domitian who succeeded his brother Titus in 81 CE, but it has also been suggested that it was built later, by Trajan, because of stylistic similarities with the Arch of Trajan at Benevento.
The Arch of Titus is a single arch, measuring 15.4m in height, 13.5m in width and 4.75m in depth, originally constructed entirely in Pantelic marble, with four semi-columns on each side. The external decorations include figures of Victoria with trophies on the spandrels and images of Roma and the Genius of Rome on the two keystones.
The inscription on the E. side is the original dedication of the arch by the senate. It reads:
Senatus
Populusque Romanus
divo Tito divo Vespasiani f(ilio)
Vespasiano Augusto
The senate
and people of Rome
to the divine Titus, son of the divine Vespasian,
Vespasianus Augustus
The inside the archway the monument is decorated with reliefs in marble. The S. side shows the beginning of the triumphal entry into Rome of the victorious emperor and his troops. The soldiers, walking left to right, are carrying the spoils of war, which include the seven armed candelabrum and the silver trumpets from the temple of Jerusalem. The signs carried by some soldiers displayed the names of the conquered cities and people. To the right the procession is entering the city through the Porta Triumphalis.
The N. side of the arch is decorated with a relief of the emperor in the triumphal procession. The emperor is riding a quadriga, which is lead by the goddess Roma, and he is crowned by Victoria flying above him. The lictors are walking in front of the chariot with their long ceremonial axes. After the emperor follow as a young man, who represents the Roman people, and an older man in toga, representing the senate. In the middle, under the vault a small relief shows the apotheosis of Titus, flying to the heavens on the back of an eagle.
Peter Wissing
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Italy- Rome- The entrance to Forum and the arch of TitoThe Arch of Titus (Arcus Titi) is a triumphal arch that commemorates the victory of the emperors Vespasian and Titus in Judea in 70 CE, which lead to the conquest of Jerusalem and the destruction of the Jewish temple there, and the triumphal procession the two held in Rome in 71 CE. It is situated at the E. entrance to the Forum Romanum, on the Via Sacra, south of the Temple of Amor and Roma, close to the Colosseum.
The arch was definitely erected sometimes after after the death of Titus in 81 CE, since Titus is referred to as Divus in the inscription. The deification of an emperor only happened posthumously after decision by the senate. It was most probably erected by emperor Domitian who succeeded his brother Titus in 81 CE, but it has also been suggested that it was built later, by Trajan, because of stylistic similarities with the Arch of Trajan at Benevento.
The Arch of Titus is a single arch, measuring 15.4m in height, 13.5m in width and 4.75m in depth, originally constructed entirely in Pantelic marble, with four semi-columns on each side. The external decorations include figures of Victoria with trophies on the spandrels and images of Roma and the Genius of Rome on the two keystones.
The inscription on the E. side is the original dedication of the arch by the senate. It reads:
Senatus
Populusque Romanus
divo Tito divo Vespasiani f(ilio)
Vespasiano Augusto
The senate
and people of Rome
to the divine Titus, son of the divine Vespasian,
Vespasianus Augustus
The inside the archway the monument is decorated with reliefs in marble. The S. side shows the beginning of the triumphal entry into Rome of the victorious emperor and his troops. The soldiers, walking left to right, are carrying the spoils of war, which include the seven armed candelabrum and the silver trumpets from the temple of Jerusalem. The signs carried by some soldiers displayed the names of the conquered cities and people. To the right the procession is entering the city through the Porta Triumphalis.
The N. side of the arch is decorated with a relief of the emperor in the triumphal procession. The emperor is riding a quadriga, which is lead by the goddess Roma, and he is crowned by Victoria flying above him. The lictors are walking in front of the chariot with their long ceremonial axes. After the emperor follow as a young man, who represents the Roman people, and an older man in toga, representing the senate. In the middle, under the vault a small relief shows the apotheosis of Titus, flying to the heavens on the back of an eagle.
Peter Wissing
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Italy- Rome- The honory column of TrajanThe Trajan's Column -
This elegant marble column was inaugurated by Trajan in AD 113, and celebrates his two campaigns in Dacia (Romania) in AD 101-3 and AD 107-8. The column, base and pedestal are 40 m (131 ft.) tall - precisely the same height as the spur of the Quirinal hill which was excavated to make room for Trajan's Forum.
The Trajan Column
The Trajan Column is constructed of giant marble blocks and a spiral staircase leading to the top. The base, excavated inside to re-excavate the tomb, was sculpted with panels of stacked Dacian arms.
A long embellishment goes around the column shaft like a roll of papyrus, leaving the fluting under the Doric capital visible.
The embellishment narrates two Dacian wars, representing the enemy with pride and humanity.
There were 2,500 figures sculpted in similar but various poses to avoid repetitiveness.
The column reaches in height to the top according to correct optics.
A- Hollowness in the Column: The Trajan column is a hollow shaft made of marble. In the area of the Basilica Ulpia, a gray granite fragment is visible with an interesting wavy border.
This was probably from one of the temple columns of 50 feet in height (around 15 meters).
It was probably impossible to extract such monolithic blocks from the mines, so the column was probably constructed by stacking hollow blocks, using these wavy borders to hide the joined areas and reinforce the column's structure.
Spiralling up the column are minutely detailed scenes from the campaigns, beginning whit the Romans preparing for war and ending with the Dacians being ousted from their homeland. The column is pierced with small windows to illuminate its internal spiral staircase (closed to the public). If you wish to see the reliefs in detail there is a complete set of casts in the Museo della Civiltà Romana at EUR. When Trajan died in AD 117 his ashes, along with those of his wife Plotina, were placed in a golden urn in the column's hollow base.
The column's survival was largely thanks to the intervention of Pope Gregory the Great (reigned 590-604). He was so moved by a relief showing Trajan helping a woman whose son had been killed that he begged God to release the emperor's soul from hell. God duly appeared to the pope to say that Trajan had been rescued, but asked him not to pray for the souls of any more pagans. According to legend, when Trajan's ashes were exhumed his skull and tongue were not only intact, but his tongue told of his release from hell.
The land around the column was then declared sacred and the column itself was spared. The statue of Trajan remained on top of the column until 1587, when it was replaced with one of St Peter.
Peter Wissing
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Italy- Rome- The Mausoleum of Hadrian- Castel St.Angelo
(Hadrian's Mausoleum) -
This building has had a checkered history. Originally a dynastic tomb, it was converted into a fortress, then became a noble dwelling and finally a papal residence; between times it served as a barracks, a prison and a museum.
Hadrian (117-38 AD) built a tomb in Domizia's gardens that was to become the dynastic sepulcher of the Antonines. Work started in 123 but was only completed in 139, after's death. The Pons Aelius (the predecessor of the Ponte Sant'Angelo 239), inaugurated in 134, linked the monument to the Campo Marzio.
The Sepulchral Chamber. The present entrance (which is about 10 feet above the level of the ancient one) leads via a short corridor to a square hall. The semicircular niche hollowed out in the back wall was probably intended to contain a statue of Hadrian. On the right is a spiral ramp leading to the cella (mortuary chamber), the heart of the monument. In this square room, which was originally faced with marble, the funerary urns of Emperor Hadrian and his wife, sabina.
Sant'Angelo was Rome's most important fortified area, anyone who held it had virtually the whole town at his mercy. Consequently, its history reflected the city's turbulent internal conflicts. Between the 10th and 11th centuries it passed into the hands of the most powerful noble families before suffering a massive attack by the Roman people, who made up their minds to demolish it in 1379.
Fortifications and Modifications. Under Nicholas III the castle became papal property. Most of the alterations to the building carried out between the pontificates of Nicholas V (1447-55) and Urban VII (1623-44) had a military purpose. Access to the subterranean galleries was blocked, two towers were built at the entrance and four bastions at the corners, a moat was dug, pentagonal ramparts were erected with five small forts (today no longer standing) and, finally the Corridoio or Passetto, the fortified passageway linking St Peter's to the castle, was strengthenedPeter Wissing
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Italy- Rome- The Pantheon of Marco V Agripa and HadrianPantheon
The Pantheon is a building in Rome which was originally built as a temple to all the gods of the Roman state religion, but has been a Christian church since the 7th century AD. It is the only building from the Greco-Roman world which is completely intact and which has been in continuous use throughout its history.
History
The original Pantheon was built in 27 BC under the Roman Republic, during the third consulship of Marcus Vipsanius Agrippa, and his name is inscribed on the portico of the building. The inscription reads M·AGRIPPA·L·F·COS·TERTIUM·FECIT, "Marcus Agrippa, son of Lucius, consul for the third time, built this."
In fact, Agrippa's Pantheon was destroyed by fire in AD 80, and the Pantheon was completely rebuilt in about AD 125, during the reign of the Emperor Hadrian, as date-stamps on the bricks reveal. It was totally reconstructed, with the text of the original inscription (referring to Agrippa) added to the new facade, a common practice in Hadrian's rebuilding projects all over Rome.
Hadrian was a cosmopolitan emperor who travelled widely in the east and was a great admirer of Greek culture. He seems to have intended the Pantheon, a temple to all the gods, to be a sort of ecumenical or syncretist gesture to the subjects of the Roman Empire who did not worship the old gods of Rome, or who (as was increasingly the case) worshipped them under other names.
In AD 609 the Byzantine emperor Phocas gave the building to Pope Boniface IV, who reconsecrated it as a Christian church, the Church of Mary and all the Martyr Saints (Santa Maria ad Martyres), which title it retains.
The building's consecration as a church saved it from the abandonment and spoliation which befell the majority of ancient Rome's buildings during the early mediaeval period. The only loss has been the external sculptures, which adorned the pediment above Agrippa's inscription. The marble interior and the great bronze doors have survived, although the latter have been restored several times.
During the reign of Pope Urban VIII, the Pope ordered the bronze ceiling of the Pantheon's portico melted down. Most of the bronze was used to make bombards for the fortification of Castel Sant'Angelo, with the remaining amount used by the Apostolic Chamber for various other works. (It is also said that the bronze was used by Bernini in creating the baldachin above the main altar of St. Peter's Basilica, but according to at least one expert, the Pope's accounts state that about 90% of the bronze was used for the cannon, and that the bronze for the baldachin came from Venice.[1]) This led to the Latin proverb, "Quod non fecerunt barbari, fecerunt Barberini" ("What the barbarians did not do, the Barberinis [family name of Urban VIII] did").
Since the Renaissance the Pantheon has been used as a tomb. Among those buried there are the painters Raphael and Annibale Caracci, the architect Baldassare Peruzzi and two kings of Italy: Vittorio Emanuele II and Umberto I, as well as Vittorio Emanuele's Queen, Margharita.
Although Italy has been a republic since 1946, volunteer members of Italian monarchist organisations maintain a vigil over the royal tombs in the Pantheon. This has aroused protests from time to time from republicans, but the Catholic authorities allow the practice to continue, although the Italian Ministry of Cultural Heritage [2] is in charge of the security and maintenance. The Pantheon is still a church and Masses are still celebrated in the church, particularly for weddings.
Structure
The building is circular with a portico of three ranks of huge granite Corinthian columns (8 in the first rank and 16 in total) under a pediment opening into the rotunda, under a coffered, concrete dome, with a central opening (oculus), open to the sky. The height to the oculus and the diameter of the interior circle are the same (43 metres), so the whole interior would fit exactly within a cube (alternatively, the interior could house a sphere 43 metres in diameter). The dome is the largest surviving from antiquity, and was the largest dome in western Europe until Brunelleschi's dome of the Duomo of Florence was completed in 1436.
It may well be noted that the proportions of the building are in discord with respect to the classical ideal. Most evident is the rather large pediment, which appears far too "heavy" for the columns supporting it. The reason for this was the expectation that the building would be much taller than it actually is, which would effect larger columns. However, by the time the pediment was built, it was realised that the proposed height was unrealistic, and so the builders had to settle with a building somewhat out of proportion.
The composition of the Roman concrete used in the dome remains a mystery. An unreinforced dome in these proportions made of modern concrete would hardly stand the load of its own weight, since concrete has very low tensile strength, yet the Pantheon has stood for centuries. It is known from Roman sources that their concrete is made up of a pasty hydrate lime; pozzolanic ash from a nearby volcano; and fist-sized pieces of rock. In this, it is very similar to modern concrete. The high tensile strength appears to come from the way the concrete was applied in very small amounts and then was tamped down to remove excess water at all stages. This appears to have prevented the air bubbles that normally form in concrete as the material dries, thus increasing its strength enormously.
As the best preserved example of monumental Roman architecture, the Pantheon was enormously influential on European and American architects from the Renaissance to the 19th century. Numerous city halls, universities and public libraries echo its portico-and-dome structure. Examples of notable buildings influenced by the Pantheon include Thomas Jefferson's Rotunda at the University of Virginia, Low Library at Columbia University, New York, and the State Library of Victoria in Melbourne, Australia.
Peter Wissing
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L SEPT SEV PERT AVG IMP [VIIII?] / P M TR P V COS II P P / Septimius Severus Fortuna denarius (197 AD) L SEPT SEV PERT AVG IMP [VIIII?], laureate head right / P M TR P V COS II P P, Fortuna standing left, holding rudder on globe in right hand, cornucopiae in left.
AR (post 196 mint, so probably 54% purity), 17 mm, 3.48g, die axis 12h.
Both small flan and image style (bust, wreath, shape of the rudder etc.) point towards the mint of Rome rather than the Eastern one. A bit heavier than expected (the standard supposed to be 3.41g), but WildWinds reports a 3.63g denarius of this type. Unfortunately it is impossible to read the number after IMP (it can be either VIIII or X for TR P V), but based on the spacing and, perhaps, a hint of V I think it is VIIII. So this must be RIC IV 104, BMCRE 229, RSC 442 type. Two other, less probable ID possibilities: RIC 115A (Rome, IMP X) and RIC 493 (Eastern mint, Laodicea ad Mare(?) IMP VIIII).
Lucius SEPTimius SEVeverus PERTinax AVGustus IMPerator (in this case not just an imperial title, but a military one, "invested with the Nth imperial acclaim", a victorious general, the number refers to important victories when the title was renewed); Pontifex Maximus (the high priest, starting with Augustus the emperor was always the head of state religion) TRibunitia Potestas (Tribunal power, the function of the tribune of the people, originally an important republican official, was "hijacked" by Augustus when he was building the imperial structure of power and subsequently became another emperor's title, renewed every year and thus very useful for dating coins) V (5th year means 193+4=197, give or take the actual date of renewing the title), COnSul (under the Empire, the office of Consul remained of some importance and was held by the Emperor with some frequency) II (during or after the consulship of 194 and before next one in 202), Pater Patriae (Father of his Country, the title was held by most Augusti but was usually not assumed at the very beginning of the reign). Denarius was the staple of Roman monetary system from 211 BC to mid 3d century AD.
SEPTIMIUS SEVERUS, *11 Apr 145 in Leptis Magna (Khoms, Libya) † 4 Feb 211 (aged 65) Eboracum (York, England) ‡ 14 April 193 – 4 February 211
Septimius Severus was born in the Roman province of Africa. He came from a wealthy and distinguished family of equestrian rank, had Roman ancestry on his mother's side (gens Fulvia was one of the most famous plebeian clans in Rome) and descended from Punic, and perhaps also Libyan, forebears on his father's side. Several members of his family held important imperial offices (although, strangely, not his father who seemed to have no career to speak about). He was trilingual, speaking Punic, Latin and Greek, and got some classical education, but probably less than he wanted to. At 17 he was helped by his influential relatives to relocate to Rome, to be presented to the Emperor Marcus Aurelius, and start his political career. With some difficulty he started to advance through the cursus honorum, holding a variety of offices. His career was helped by the Antonine Plague of 166, Septimius avoided it by returning to Leptis Magna for a while, and when he was back in Rome he found his competition conveniently thinned out. Despite him going through an impressive number of offices in a very short time there is very little record of his actual accomplishments in 170s and 180s.
In 191 Severus was appointed governor of Pannonia Superior (one of the provinces on Danube frontier) by Emperor Commodus (on advice from one of Septimius' friends). When the hell was unleashed by the assassination of Commodus on 31 December 192 and 193, , the infamous Year of the Five Emperors started, as a general in charge of significant army Severus was able to fight for the highest office. While he moved on Rome, Pertinax, the first Emperor of 193, was killed by the Praetorian Guard, and the next one, Didius Julianus, who famously bought the emperorship at an auction, was condemned by the Senate and executed, so Septimius entered Rome virtually unopposed. He then wisely appeased the powerful governor of Britannia, Clodius Albinus, who was also proclaimed the Emperor, by offering him the title of Caesar, which implied some degree of co-ruling and a chance to succession (Albinus did not give up that easy, reasserting his claim in three years, but then he was easily dealt with at the Battle of Lugdunum in Gaul). Afterwards he had to fight off the final pretender, Pescennius Niger, the former governor of Syria, who was proclaimed the Emperor by the eastern legions. Losing no time, Severus sent a considerable vanguard force to the East and, later, joined in with additional armies. In a series of battles in 193-195 Niger and his supporters were defeated. The last to surrender was Byzantium, which held even after the head of Niger was sent there. It is interesting to note that during this campaign Septimius visited the tomb of his famous fellow countryman, Hannibal Barca in Libyssa (Gebze, Turkey) and ordered to cover it with fine marble. Severus also took an opportunity to wage a short punitive campaign beyond the eastern frontier, annexing the Kingdom of Osroene as a new province.
After consolidating his rule over the western provinces, Severus waged another brief, more successful war in the east against the Parthian Empire, sacking their capital Ctesiphon in 197 and expanding the eastern frontier to the Tigris. He then enlarged and fortified the Limes Arabicus in Arabia Petraea. In 202 he campaigned in Africa and Mauretania against the Garamantes; capturing their capital Garama and expanding the Limes Tripolitanus along the southern desert frontier of the empire. In 208 he travelled to Britain, strengthening Hadrian's Wall and reoccupying the Antonine Wall. In the same year he invaded Caledonia (modern Scotland), but his ambitions were cut short when he fell fatally ill in late 210, dying in early 211 at Eboracum (York, England), and was succeeded by his sons Caracalla and Geta, thus founding the Severan dynasty. It was the last dynasty of the Roman empire before the Crisis of the Third Century.
In the context of this coin it is interesting to note, that, due to huge military expenses, upon his accession Severus decreased the silver purity of the denarius from 81.5% to 78.5%, although the silver weight actually increased, rising from 2.40 grams to 2.46 grams. Nevertheless, the following year he debased the denarius again because of rising military expenditures. The silver purity decreased from 78.5% to 64.5% – the silver weight dropping from 2.46 grams to 1.98 grams. In 196 he reduced the purity and silver weight of the denarius again, to 54% and 1.82 grams respectively [corresponds to this issue]. Severus' currency debasement was the largest since the reign of Nero.Yurii P
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Macedonian Kingdom, Philip II, 359 - 336 B.C., Lifetime IssueSilver tetradrachm, Le Rider 233 (D130/R188); SNG ANS 385 ff., VF, Pella, 14.163g, 25.4mm, 225o, 342 - 336 B.C.; obverse laureate head of Zeus right; reverse "FILIPPOU", naked youth on horse pacing right on horseback holding palm, thunderbolt below; ex CNG 214, 82; very high relief sculptural portrait, nice style, lifetime issue. Ex FORVM.
Philip II expanded the size and influence of the Macedonian Kingdom, but is perhaps best known as the father of Alexander the Great. He personally selected the design of his coins.
Philip II of Macedon (382 BC–336 BC; in Greek Φίλιππος = φίλος (friend) + ίππος (horse), transliterated Philippos) was the King of Macedon from 359 BC until his assassination. He was the father of Alexander the Great, Phillip III Arrhidaeus, and possibly Ptolemy I Soter, founder of the Ptolemaic dynasty.
Born in Pella, Philip was the youngest son of King Amyntas III and Eurydice. In his youth, (ca. 368 BC–365 BC) Philip was a hostage in Thebes, which was the leading city of Greece during the Theban hegemony. While a captive there, Philip received a military and diplomatic education from Epaminondas, was involved in a pederastic relationship with Pelopidas and lived with Pammenes, who was an enthusiastic advocate of the Sacred Band of Thebes. In 364 BC, Philip returned to Macedonia. The deaths of Philip's elder brothers, King Alexander II and Perdiccas III, allowed him to take the throne in 359 BC. Originally appointed regent for his infant nephew Amyntas IV, who was the son of Perdiccas III, Philip managed to take the kingdom for himself that same year.
Philip's military skills and expansionist vision of Macedonian greatness brought him early success. The hill tribes were broken by a single battle in 358 BC, and Philip established his authority inland as far as Lake Ohrid. He used the Social War as an opportunity for expansion. In 357 BC, he took the Athenian colony of Amphipolis, which commanded the gold mines of Mount Pangaion. That same year Philip married the Epirote princess Olympias, who was the daughter of the king of the Molossians. In 356 BC, Philip conquered the town of Crenides and changed its name to Philippi. Philip also attacked Abdera and Maronea, on the Thracian sea-board. Also in 356 Alexander was born and his race horse won in the Olympics in He took Methone in 354 BC, a town which had belonged to Athens. During the siege of Methone, Philip lost an eye.
Not until his armies were opposed by Athens at Thermopylae in 352 BC did Philip face any serious resistance. Philip did not attempt to advance into central Greece because the Athenians had occupied Thermopylae. Also in 352 BC, the Macedonian army won a complete victory over the Phocians at the Battle of Crocus Field. This battle made Philip tagus of Thessaly, and he claimed as his own Magnesia, with the important harbour of Pagasae.
Hostilities with Athens did not yet take place, but Athens was threatened by the Macedonian party which Philip's gold created in Euboea. From 352 to 346 BC, Philip did not again come south. He was active in completing the subjugation of the Balkan hill-country to the west and north, and in reducing the Greek cities of the coast as far as the Hebrus (Maritza). For the chief of these coastal cities, Olynthus, Philip continued to profess friendship until its neighboring cities were in his hands.
In 349 BC, Philip started the siege of Olynthus. Olynthus at first allied itself with Philip, but later shifted its allegiance to Athens. The Athenians did nothing to help Olynthus. Philip finally took Olynthus in 348 BC and razed the city to the ground. In 346 BC, he intervened effectively in the war between Thebes and the Phocians, but his wars with Athens continued intermittently.
Macedonia and the regions adjoining it having now been securely consolidated, Philip celebrated his Olympic games at Dium. In 347 BC, Philip advanced to the conquest of the eastern districts about the Hebrus, and compelled the submission of the Thracian prince Cersobleptes. Meanwhile, Athens had made overtures for peace, and when Philip, in 346 BC, again moved south, peace was sworn in Thessaly. With key Greek city-states in submission, Philip turned to Sparta; he sent them a message, "You are advised to submit without further delay, for if I bring my army into your land, I will destroy your farms, slay your people, and raze your city." Their reply was "If." Philip and Alexander would both leave them alone. Later, the Macedonian arms were carried across Epirus to the Adriatic Sea. In 342 BC, Philip led a great military expedition north against the Scythians, conquering the Thracian fortified settlement Eumolpia to give it his name, Philippoupolis (modern Plovdiv).
In 340 BC, Philip started the siege of Perinthus. Philip began another siege in 339 BC of the city of Byzantium. After unsuccessful sieges of both cities, Philip's influence all over Greece was compromised. However, Philip successfully reasserted his authority in the Aegean by defeating an alliance of Thebans and Athenians at the Battle of Chaeronea in 338 BC. He erected a memorial of a marble lion to the Sacred Band of Thebes for their bravery that still stands today. Philip created and led the League of Corinth in 337 BC. Members of the League agreed never to wage war against each other, unless it was to suppress revolution. Philip was elected as leader (hegemon) of the army of invasion against the Persian Empire. In 336 BC, when the invasion of Persia was in its very early stage, Philip was assassinated, and was succeeded on the throne of Macedon by his son Alexander the Great.
Philip’s Assassination
The murder happened in October of 336 BC, at Aegae, the ancient capital of the kingdom of Macedon. The court had gathered there for the celebration of the marriage between Alexander of Epirus and Philip's daughter. While the king was entering unprotected into the town's theatre (highlighting his approachability to the Greek diplomats present), he was killed by Pausanias of Orestis, one of Philip's seven bodyguards. The assassin immediately tried to escape and reach his associates who were waiting for him with horses at the entrance of Aegae. He was pursued by three of Philip's bodyguards and died by their hands.
The reasons for Pausanias' assassination of Phillip are difficult to fully expound, since there was controversy already among ancient historians. The only contemporary account in our possession is that of Aristotle, who states rather tersely that Philip was killed because Pausanias had been offended by the followers of Attalus, the king's father-in-law.
Whatever else that may be written about Philip II it must be recognized that he was responsible for making Macedon the ascendant Greek power. He reorganized the Macedonian army. It was this army that Alexander the Great inherited. Phillip II trained some of Alexander’s best generals: Antigonus Cyclops, Antipater, Nearchus, Parmenion, and Perdiccas.
According to the Greek historian Theopompus of Chios, Europe had never seen a man like king Philip of Macedonia, and he called his history of the mid-fourth century BCE the Philippic History. Theopompus had a point. Not even his better known son Alexander has done so much to change the course of Greek history. Philip reorganized his kingdom, gave it access to the sea, expanded its power so that it could defeat the Achaemenid Empire, and subdued the Greek city-states, which never regained their independence again. To achieve this, he modernized the Macedonian economy, improved the army, and concluded several marital alliances. The result was a superpower with one weakness: it was as strong as its king. When Philip's son Alexander died, the institutions were too weak, and Macedonia never recovered.
http://en.wikipedia.org/wiki/Philip_II_of_Macedon
http://www.livius.org/phi-php/philip/philip_ii.htm
Ed. by J. P. Fitzgerald, Jr.Cleisthenes
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Maximinus II, 309 - 313 ADObv: IMP C GAL VAL MAXIMINVS PF AVG, laureate head of Maximinus II facing right.
Rev: HERCVLI VICTORI, Hercules standing right, leaning on club, holding lion-skin, eight-pointed star and Γ in left field; SMN in exergue.
Note: Hercules is depicted in the same pose as the Farnese Hercules, a massive marble sculpture, which depicts a muscular yet weary Hercules leaning on his club, which has his lion-skin draped over it. He has just performed the last of The Twelve Labors, which is suggested by the apples of the Hesperides he holds behind his back. The Farnese Hercules is probably an enlarged copy made in the early third century A.D., signed by Glykon, from an original by Lysippos that would have been made in the fourth century B.C. The copy was made for the Baths of Caracalla in Rome (dedicated in 216 A.D.), where it was recovered in 1546. Today it is in Naples National Archaeological Museum. The statue was well-liked by the Romans, and copies have been found in many Roman palaces and gymnasiums. It is one of the most famous sculptures of antiquity, and has fixed the image of the mythic hero in the human imagination. ~Credit: Forvm
Billon Follis, Nicomedia mint, 312 AD
3.6 grams, 21 mm, 180°
RIC VI 75b, S14860Matt Inglima
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Moesia inferior, Markianopolis, 18. Caracalla, HrJ (2013) 6.18.10.02 Caracalla, AD 198-217
AE 28, 10.10g, 27.24g, 210°
struck under governor Quintilianus
obv. ANTWNINOC PI - OC AVGOVCT - O - C
Bearded head, laureate, r.
rev. VP KVNTILIAN - OV MARKIAN - OPO
in l. and r. field LI - TWN
Hermes, nude, seen from back, stg. r., r. leg tucked up and put with toes behind l. foot; chlamys over l. shoulder, in half raised r.
hand transverse kerykeion, before a stele.
ref. a) AMNG I/1, 637, pl.XVI, 22 (4 ex., Imhoof, München, Mionnet, Wien)
b) Varbanov (engl.) 978
c) Hristova/Jekov (2013) No.6.18.10.2
rare, about VF, dark green patina
Attention deserves a particular depiction where the stele standing in front of the god surely is meant as support for the extended r. arm even though the die cutter senselessly has put the end of the legend between ellbow and stele. A similar error as we have found at depictions of Apollo (Lykeios). This Hermes type probably is the depiction of a marble statue where the stele was used as armrest (Pick, p.193)
Jochen
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Motya Charioteer marble sculptureThe remarkable and exquisite Motya Charioteer marble sculpture found in 1979 is world famous and is on display at the local Giuseppe Whitaker museum.
Motya was an ancient and powerful city on an island off the west coast of Sicily, between Drepanum (modern Trapani) and Lilybaeum (modern Marsala). The island was renamed San Pantaleo in the 11th century by Basilian monks. It lies in the Stagnone Lagoon, and is within the comune of Marsala. The island is nearly 850 metres (2,790 ft) long and 750 metres (2,460 ft) wide, and about 1 kilometer (0.62 mi) (six stadia) from the mainland of Sicily. It was joined to the mainland in ancient times by an artificial causeway (paved road), by which chariots with large wheels could reach the town.
Source: https://commons.wikimedia.org/wiki/File:StatuenMozia.jpg
Photo by: AEK
Released under the GNU Free Documentation License.
Joe Sermarini
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Nathaniel Hawthorne, 1975 NYU Hall of Fame MedalObv: NATHANIEL HAWTHORNE, bust of Hawthorne facing right, scroll with letter “A” behind, quill below with dates 1804 – 1864.
Rev: Central figures are Hester and Arthur from The Scarlet Letter, surrounding them are images from other works by Hawthorne: The Marble Faun, The Grey Champion, James II, the House of the Seven Gables, the Port of Early Salem, the Judges of Salem, THE HALL OF FAME FOR GREAT AMERICANS AT NEW YORK UNIVERSITY ©1975.
Category: Literature
Year Elected: 1900
Medal Issued: 1975
Sculptor: Michael Lantz
Mint: Medallic Art Company
Details: Bronze, 44 mm, 0°
Matt Inglima
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Octavian - denarius - Sear 1557, Sear Imperators 421, Clive Foss 15, Van Meter 27, RIC I 266Denarius, 21 mm, 3,47 gr
Bare head of Octavian right /
IMP CAESAR on the architrave of the Roman Senate House (Curia Julia), Curia Julia, central paneled doors with three rows of three medallions, three windows above and porch supported by four short columns. Legend on the architrave of the Curia Juli. Surmounting the apex of roof, a statue of Victory facing with wreath in right hand and vexillum in left, on globe. At the extremities of the architrave two statues of standing figures turned inward, scepter in outer hand and parazonium in inner hand. In the pediment a figure is shown seated between two birds vis-à-vis.
The construction of the Curia Julia, the new senate house, began under Julius Caesar in 44 BC. It was completed and dedicated by Octavian on 28 August 29 BC. The remains of the Senate House are still visible today and appears is fairly well-preserved due to the fact that it was converted into a Church for St. Hadrian in 630 CE. Much of the original decoration was removed either after the conversion of the building into a church or after the forum itself was abandoned, however a lot of the marble flooring remains impeccably preserved. Limes
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RIC 089 TitusAR Denarius, 3.31g
Rome Mint, 79-80 AD
Obv: IMP TITVS CAES VESPASIAN AVG PM; Head of Titus, laureate, bearded, r.
Rev: BONVS EVENTVS AVGVSTI; Bonus Eventus stg. l., with patera and corn ears and poppy
RIC 89 (C). BMC 106. RSC 25. BNC 83.
Acquired from Apollo Numismatics, January 2006.
Bonus Eventus, 'good outcome', is sometimes depicted as a naked youth with strong agricultural imagery holding corn ears and poppies. The type is undoubtedly based on a cult image. Pliny mentions two famous statues of Bonus Eventus in a similar pose - one in marble by Praxiteles, the other in bronze by Euphranor. BMCRE speculates this undated denarius of Titus may follow a Neronian tradition, alluding to Egypt and the corn supply.
This is not one of Titus' easiest reverse types to find! I spent the best part of a year looking for a VF or better example in good style.
David Atherton
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RIC 841 DomitianAR Cistophorus, 9.81g
Rome mint (for Asia), 82 AD
Obv: IMP CAES DOMITIAN AVG P M COS VIII; Head of Domitian, laureate, bearded, r.
Rev: CAPIT across field, RESTIT in exergue; Temple of Capitoline Jupiter with 4 columns enclosing figures of Juno, seated Jupiter and Minverva
RIC 841 (C). BMC 251. RSC 23. RPC 864 (8 spec.). BNC 221.
Acquired from Tom Cederlind, February 2013.
In 80 AD while Titus was away in Campania surveying the damage Vesuvius had caused in the region the previous Fall, a devastating fire broke out in Rome, damaging much of the city center. One of the most important buildings affected by the fire was the Temple of Capitoline Jupiter, rebuilt recently by Vespasian. It being the most sacred and important building in Rome, Titus began rebuilding it immediately. Construction was still ongoing when Titus died of natural causes in September of 81. Domitian completed the structure the following year and it was said no expense was spared. The building Domitian dedicated was a lavish structure, magnificent in appearance featuring Pentelic marble, gold plated doors, and a roof of gilded bronze.
This cistophorus minted in Rome for export to Asia Minor commemorates the new Temple of Jupiter Domitian bestowed on Rome. Curiously, although the building featured six columns, only four are seen here. Statues of the deities Juno, Jupiter (seated) and Minverva can be seen between the columns.
A most wonderful coin in hand.David Atherton
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ROMAN EMPIRE, Trajan Denarius - Trajan's Column (RIC II 356)AR Denarius
Rome 113-117AD
3.33g
Obv: Laureate draped bust of Trajan (R)
IMP CAES NER TRAIANO OPTIMO AUG GER DAC
Rev: TRAJAN'S COLUMN surmounted by statue of Trajan and two eagles at base.
PM TRPCOS VI PP SPQR
Trajan's Column commemorates Roman emperor Trajan's victory in the Dacian Wars. It was probably constructed under the supervision of the architect Apollodorus of Damascus at the order of the Roman Senate. Completed in 113 CE, the freestanding column is most famous for its spiral bas relief, that artistically describes the epic wars between the Romans and Dacians (101–102 and 105–106). Its design has inspired numerous victory columns, both ancient and modern. The structure is about 30 metres (98 ft) in height, 35 metres (125 ft) including its large pedestal. The shaft is made from a series of 20 colossal Carrara marble drums, each weighing about 32 tons. The capital block of Trajan's Column weighs 53.3 tons, which had to be lifted to a height of ca. 34 m.
RIC II 356 RSC 284Optimo Principi
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Roman EphesusIonia, Ephesus, Claudius, 41-54, AR Cistophoric Tetradrachm
TI. CLAVD CAES AVG. Claudius bare head, facing left.
DIAN-EPHE Cult statue of Diana (Artemis) of Ephesus inside a tetra style temple, set on three tiered base; pediment decorated by figures flanking three windows.
RIC I 118; RPC I 2222; BMCRE 229; RSC 30; Sear Millennium 1839. Ephesus ca. 41-42 AD.
(25 mm, 11.14 g, 6h).
The Temple of Artemis (Diana) at Ephesus was one of the Seven Wonders of the ancient world. Depicted on this coin, which was minted shortly after Claudius’ accession to the throne, there remains no trace of the temple other than some recently stacked column remnants to mark the location. Pliny The Elder described the temple as 115 meters in length, 55 meters in width, made almost entirely of marble; consisting of 127 Ionic style columns 18 meters in height. The original temple, which stood on the site from about 550 BC, was destroyed by arson in 356 BC. It was rebuilt at the direction of Alexander III the Great around 330 BC, in the form depicted on the coin, only to be destroyed by the Goths in 262 AD. Again rebuilt, it was destroyed for the final time by Christians in 401 AD. The marble of the temple was used to construct other buildings. Some of the columns found their way into the church of Hagia Sophia in Constantinople (Istanbul).
The site of the temple was rediscovered in 1869 by an expedition sponsored by the British Museum, but little remains to be seen today. A Christian inscription found at Ephesus reads Destroying the delusive image of the demon Artemis, Demeas has erected this symbol of Truth, the God that drives away idols, and the Cross of priests, deathless and victorious sign of Christ. This Christian zeal explains why so little remains of the site despite its repute in the ancient pre-Christian world.
This coin is rare with a few dozen examples known. In contrast to most examples, which show a four-tiered temple base, the reverse of this coin shows a three-tiered temple base, the same as that found on the Parthenon. The rectangles visible on the pediment of the temple are frequently identified as depictions of tables, or altars attended by flanking figures. However, architectural reconstructions of the temple show these rectangles as windows permitting light into the temple interior, a fact supported by the presence of pediment window frame moldings amongst the remains of other temples from the period in Asia Minor. The Ionic style of the temple’s columns, as described by Pliny, is clearly visible in the reverse image.n.igma
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Roman Hunting Scene SteleCirca 4th century AD. A carved marble D-shaped stele depicting a a horseman with billowing cloak, thrusting downwards with a spear; within a raised border.
Measurements: Marble, 655 grams, 13 cm.
Condition: Fine condition.
Provenance: UK art market, acquired prior to 2000.TLP
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Roman mosaicA small piece of Roman mosaic comprising of 8 marble tessarae. A fieldwalking find from Leicestershire, UK, c.3rd century AD.mauseus
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Rondanini MedusaSo-called “Rondanini Medusa”. Marble, Roman copy after a 5th-century BC Greek original by Phidias, which was set on the shield of Athena Parthenos.
Homer wrote about the Gorgon on four occasions, but only about the head, as if the creature had no body. Up to the 5th century B.C., the head depicted was very ugly, with her tongue sticking out, boar tusks, puffy cheeks, her eyeballs staring straight ahead and the snakes twisting all around her. The direct frontal stare was highly unusual in ancient Greek art. In some cases a beard, (probably representing streaks of blood) was added to her chin, making her appear as a wild. Gorgoneia painted on the shields of warriors on mid-5th century Greek vases, however, are not as ugly, strange or frightening. By that time, the Gorgon had lost her tusks and the snakes were rather stylized. The Hellenistic marble known as the Medusa Rondanini shows how the Gorgon changed over time into a beautiful woman.Joe Sermarini
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RPC 1311 VespasianÆ27, 8.24g
Sardis (Lydia) mint, Titus Flavius Eisigonos (strategos)
Obv: ΑΥΤΟΚ ΚΑΙϹ ΟΥΕϹΠΑϹΙΑΝΩ; Head of Vespasian, laureate, r.
Rev: ΕΠΙ (Τ) ΦΛ ΕΙϹΙΓΟΝΟΥ ϹΑΡΔΙΑΝΩΝ; Pluto and Persephone in quadriga, r.
RPC 1311 (6 spec.).
Acquired from Tom Vossen, November 2023.
The rape, or more accurately abduction, of Prospernia (Persephone in Greek) depicted on the reverse of this Sardian provincial bronze is an infamous scene from Greco-Roman mythology. Here we see Pluto carrying away Prospernia in his chariot. The story of Proserpina explains why there is winter:
'One day, when Proserpina, daughter of Ceres, the goddess of agriculture, was gathering flowers in the fields, she was abducted by Pluto, god of the underworld, and carried off to his kingdom. Ceres was consumed with grief and in anger she scorched the earth, preventing grain from growing and the earth from producing fruit. Forced to intervene, Jupiter negotiated a compromise that provided Proserpina had not eaten anything while in the underworld she would be set free. Pluto however had offered Proserpina part of a pomegranate, which she accepted. The Fates would not allow Proserpina to be fully released, but a settlement was agreed upon by which she would spend part of the year with Pluto in the underworld (winter) and part of the year with her mother Ceres (summer). When Proserpina is with Pluto the earth is barren and cold and when she returns to her mother, Ceres pours forth the blessings of spring to welcome her beloved daughter home.'
The story has been told in paintings and sculpture throughout the ages. During the Renaissance a large Baroque marble group sculpture by Italian artist Gian Lorenzo Bernini titled 'The Rape of Proserpina' most famously immortalised the tale for a modern audience. This Sardian bronze struck under Vespasian, while not exceedingly rare, is seldom encountered in trade.David Atherton
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RRC422/1 (M. Aemilius Scaurus, P. Plautius Hypsaeus)Obv. King Aretas of Nabatea kneeling beside camel, raising olive branche with fillet; M SCAVR(VS) | AED CVR above, [E]X – SC at sides; [R]EX ARETAS in exergue
Rev. Jupiter in quadriga left, reins in right, hurling thunderbolt with left, horses trampling scorpion; P HYPSAEVS | AED CV(R) above, CAPTV[M] on right, C HYPSAE COS | PREIVER(NVM) in exergue
18 mm, 3.80 grams
Rome, 58 B.C.
Allusions: Scaurus refers to his own deed on the obverse, the first time a Roman dared to do so on a coin. In 62 B.C., he had defeated Haritha (Aretha) III of Nabatea, who was marching on Jerusalem, to help the rightful king John Hyrcanus II. Scaurus, a lieutenant of Pompey's, was bribed by Aristoboulos with 400 talents, then took another 300 from Aretas to spare the Nabetean capital of Petra (Josephus, BJ I.127, Ant. Jud. 14.2, 14.5). His colleague chose a more distant motive: C. Plautius Decianus had captured the Volscian city of Privernum (Piperno) in 329 B.C. Any direct relations between Hypsaeus and Decianus are most likely invented, however.
Moneyers: The moneyers of this coin were not the IIIViri Monetales, but the Curule Aediles of 58 B.C., M. Aemilius Scaurus and P. Plautius Hypsaeus. Both were Pompeian supporters ultimately dropped by their patron in 52 B.C. M. Scaurus, stepsone of Sulla, who had already battled in Judaea and Nabatea (where his massacred are mentioned in the Dead Sea Scrolls) would rise to be praetor in 56 B.C. and propraetor of Sardinia the following year. Accused of extortion, he was defended by Cicero and aquitted, only to be exiled on the charge of ambitus in 52. B.C. He was also the first major Roman collector of engraved gemstones, put together in a dactyliotheca exceeding even that of Mithridates of Pontus (Pliny, NH 37.5.11). Less is known about his colleague during his aedileship. P. Plautius Hypsaeus rose to the praetorship in 55 B.C. but was tried for bribery in 52 B.C. whilst standing for consul. He convicted and fled into exile.
On this issue: M. Aemilius Scaurus' aedileship is known and can be securely dated. It became famous for the unparalleled lavishness of its games. These included the construction of an artificial lake to show off crocodiles and hippopotamuses; Scaurus also brought a huge skeleton from Joppa, believed to be the monster to which Andromeda was to be sacrificed (Pliny NH 9.4.11). He also had a temporary theatre capable of holding 80,000 spectators built, standing for just one month, and adorned with all kinds of luxuries (Pliny, NH 36.2.5; 36.24.113ss). After the games, he had the huge marble columns transferred to his house, for which the sewer contractors demanded a hefty security fee, in case their weight caused the drains to cave in (ibid. 36.2.6). According to Pliny, the remains of the theatre alone were worth 30 million sesterces (or 7,500,000 denarii).
Syltorian
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Septimius Severus Color ImpressionA quick colorized marble statue. Hair might be too brown for reality, I believe in older age it was peppered with grey like the famous family painting (the one with Geta scrubbed out), but he looked younger here so artistic license was used. Also, he should really be darker skinned but working on the white surface of the original pic made what I was doing seem dark ennough, in retrospect he should probably be a little more dark toned.Scotvs Capitis
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Serapis of BryaxisRoman marble copy of the head of Serapis from the Serapeion in Alexandria made by Bryaxis, flourishing 400-350 BC. Now in the Museo Pio-Clementino, Vaticane/Rome.
Jochen
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