Cymon and Iphigenia (1884) by Sir Frederic Leighton (British, 1830 – 1896), oil on canvas, 163 cm × 328 cm (64 in × 129 in), Art Gallery of New South Wales, Sydney

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Cymon and Iphigenia (1884) by Sir Frederic Leighton (British, 1830 – 1896), oil on canvas, 163 cm × 328 cm (64 in × 129 in), Art Gallery of New South Wales, Sydney
A Beauty at her Bath (1886) by Emmanuel de Dieudonne (Swiss, 1845 – 1889), oil on canvas, 183 x 128 cm, 72 x 50 1/4 in), Private Collection
Pierre Bonnard - Nude woman with black stockings
Max Svabinsky - In Paradise
A post to say goodbye to all the medieval notaries and chancellors, librarians and judges, laymen and clergymen, who accompanied me for many months of my life. Nothing of their lives survived to us, nothing of their faces or voices, but nevertheless we still preserve the fruits of their labour, the memory of their daily work, their handwriting and, most importantly, their names; and this way we can know they have walked on the same earth as us.
1) "Ego Ansolf notarius" - "I, Ansolf, notary" (720 AD) 2) "Ego Gerardus notarius scriptor" - "I, Gerardus, notary and writer" (1101 AD) 3) "Ego Ingelfredus nottarius [sic] sacri pala[cii]" - "I, Ingelfredus, notary of the Sacred Palace" (999 AD) 4) "Bruno cancellarius Sacri Palacii vice Aribonis Mogunciensis archiepiscopi" - "Bruno, chancellor of the Sacred Palace, vicar of Aribo archbishop of Mainz" (1030 AD) 5) "Per manus Frederici diaconi Sanctae Romanae Aecclesiae bibliothecarii" - "At the hand of Fredericus deacon of the Holy Roman Church, librarian" (1051 AD) 6) "Et ego Petrus sacro sancte romane ecclesie auctor notarius" - "And I, Petrus, author for the Holy Roman Church and notary" (1261 AD)
536AD, The Roman Apocalypse
In the tenth year of Justinian’s reign, the sun lost its brightness and shone like the moon, as though perpetually eclipsed. From that moment, humanity knew no relief from war, famine, or pestilence. The plague followed soon after, spreading across the whole world without regard for age, rank, or place, bringing mankind to the edge of annihilation. -Procopius on the Years following 536AD
So pharaoh nectanebo ii knew what women want
Kinda jealous of the views my boyfriend gets on a DAILY basis...
San Miniato al Monte, Firenze.
(La facciata era coperta per restauro)
out of context quotes from my epigraphy prof.'s course on late antiquity
"The Colosseum is an organism that digests itself"
[pointing at a honorary inscription from the v century] "So what do you think?" [silence] "you can say it's ugly. I mean, in the I century not even a freedman would have accepted something this ugly"
"No, the Colosseum is like pork: you don't throw anything away."
[two inscriptions about the same thing done by the same guy] "Yet they are a bit different - why? That's late antiquity for you, baby"
[about a scholar who was horribly wrong] "This happens when you don't let the stone speak"
[pointing at a few inscriptions that mentioned barbarian attacks] "They simply have no shame anymore, don't they?"
"We might say that Constantine was the inventor of politically correct- well, no, actually, this would be true if Augustus hadn't come before him"
"Here's a thing that Donald Trump's political campaign, augustean propaganda and Constantine's arch have in common"
[still on Constantine. this time the hispellum rescriptum] "It took him 38 lines to actually answer and say: yeah it's cool"
"Constantine introduced himself as Rome's new founder - he had that old-fashioned problem of killing his family members - however..."
"Fashion changes. They liked inscriptions that we would have probably given back to their maker because of their ugliness. Look at this one. Yes it's whole. Yes they didn't even cut it right."
[about Colosseum's shows] "At noon there were public executions. A great background to have lunch to"
of course ! basically what we nowadays have of the colosseum brings us back to the last phase of use of the amphitheater. not much of its original state is preserved because many materials of its early stages were reused for inscriptions, architectural structures and equipment during late roman empire. so most of the original colosseum is forever lost to the colosseum itself, because the amphiteater is, in my professor’s words, like “a microcosm that grew digesting itself”.
this practice of reusing older material and inscriptions is a rather interesting trait that characterises the epigraphical landscape of that age, but it’s extremely striking in the case of the colosseum.
there are slices of columns reused for loca senatorii (inscriptions in the cavea that marked the place where certain aristocratic families used to sit), steps and bleachers transformed into blocks of imperial inscriptions that circled the arena, and even inscriptions themselves turned into building material during the various restorations of the building
this, for example, is a fragment of an imperial inscription from the time of valentinian III that reuses a former bleacher (the holes have been probably made by spectators to play with marbles while waiting between different shows)
here you can see how inside (in its maenianum summum) the structure is almost a "patchwork" of different materials.
@saiintofawe
“An ancient Italian bronze statue is examined after being discovered in the ruins of a Roman bathhouse.” (Artnews)
Etruscan, Ring with winged lion, siren, and flying scarab beetle, late 6th - early 5th century BC (source).
Helping The Hanging Man To Die, after a drawing by Gustave Doré for Gargantua and Pantagruel, from Life And Reminiscences of Gustave Doré, published in 1885.
Summer Break, 2023
Catrin Welz-Stein
where’s that 1900s painting of the centaur mother playing with her child in a grassy field?
the smile! the tenderness! the warmth of it all!
The Centaur Playing with her Child (1909) by Otto Soltau
Edvard Munch