Garden, Roman fresco. Casa del Bracciale d' Oro in Pompei, now Museo Archeologico Nazionale Napoli
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Garden, Roman fresco. Casa del Bracciale d' Oro in Pompei, now Museo Archeologico Nazionale Napoli
Relief of Hades and Persephone with a table of pomegranates from Hierapolis Archaeological Museum.
Pentheus torn apart by Bacchantes, 2nd century CE, Archaelogical Museum, Turin
Stèle funéraire d'une petite fille. Île de Paros, Grèce, vers 450-440 av. J.-C. Marbre. The Met New York.
Statue of Dionysus from the east pediment of the Parthenon.
Acropolis of Athens • Greece, 🇬🇷
© Veronika Tsoi
La via Appia all'altezza della villa dei Quintili.
Fotografia dell'archivio Alinari scattata intorno al 1920.
Augustus of Prima Porta (Augustus -Octavian- was the founder of the Roman Empire and the first Roman emperor from 27 BC until his death in AD 14)
Fotografia della Piramide di Caio Cestio a Roma, scattata nel 1880
The helmet-mask comes from the funerary tumulus of Roshava Dragana, southwest of present-day Stara Zagora, and can be dated to the 1st century AD, at the height of the Roman period. We are in the heart of Thrace, a border region where local traditions, Hellenistic culture, and Roman influence are deeply intertwined. The Thracian elites adopted forms and models of Roman military equipment, reinterpreting them according to their own vision of power and death. Placing such an object in a burial meant asserting status, warrior identity, and continuity beyond life. It was not merely a weapon or a piece of protection, but a true face of eternity, destined to accompany the deceased on his journey into the afterlife.
Torso of an Emperor wearing a cuirass rendered with the characteristics of a military leader (wear short chiton, chlamys and cuirass with relief gorgon and representation of a marine group) from 14-58 CE from the collection of the archaeological museum of Thessaloniki http://www.amth.gr/en
Zeus Ammon, Greek original 5th century BC, Glyptothek Museum, Munich.
Domitian's ramp, the monumental entrance to the imperial palaces.
(English / Español / Italiano)
The ramp, located within the grandiose complex of buildings constructed by Emperor Domitian to celebrate his reign, is a unique, imposing and unrivalled structure. Built in the second half of the 1st century AD, it connected the Forum, the political and administrative heart of the city, with the centre of power, namely the Imperial Palace. The original structure of the ramp wound its way along seven ascents and six hairpin bends, rising up to 35 metres: of the seven original ascents, four remain, now accessible to the public with a route that ends with a breathtaking view of the Roman Forum. Unearthed in 1900 during excavations conducted by archaeologist Giacomo Boni, the recent restoration by the Superintendency involved not only the ramp but also the Hall, which in the Middle Ages had been transformed into the Oratory of the Forty Martyrs and which today is once again part of the visitor route, together with the guard posts and service rooms.
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La rampa de Domiciano, es decir, la entrada monumental a los palacios imperiales.
La rampa, situada dentro del grandioso complejo de edificios construidos por el emperador Domiciano para celebrar su reinado, es un recorrido único, imponente e inigualable. Construida en la segunda mitad del siglo I d. C., conectaba el Foro, corazón político y administrativo de la ciudad, con el centro del poder, es decir, el Palacio Imperial. La estructura original de la rampa se extendía a lo largo de siete subidas y seis curvas cerradas, que se elevaban hasta 35 metros: de las siete subidas originales quedan cuatro, ahora accesibles al público con un recorrido que termina con una impresionante vista del Foro Romano. Descubierta en 1900 durante la campaña de excavaciones dirigida por el arqueólogo Giacomo Boni, la reciente restauración de la Superintendencia ha afectado no solo a la rampa, sino también a la Sala, que en la Edad Media se transformó en el Oratorio de los Cuarenta Mártires y que hoy vuelve a formar parte del recorrido de visita junto con los puestos de guardia y los locales de servicio.
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La rampa di Domiziano, ovvero l’ingresso monumentale ai palazzi imperiali.
La rampa, interna al grandioso complesso di edifici costruiti dall’imperatore Domiziano per celebrare il suo regno, è un percorso unico, imponente e senza eguali. Edificata nella seconda metà del I secolo d. C., collegava il Foro, cuore politico e amministrativo della città, con il centro del potere, ovvero il Palazzo Imperiale. La struttura originale della rampa si snodava lungo sette salite e sei tornanti, che si innalzavano fino a 35 metri: delle sette salite originali ne sono rimaste quattro, ora accessibili al pubblico con un percorso che termina con un affaccio mozzafiato sul Foro romano. Portata alla luce nel 1900 durante la campagna di scavi condotta dall’archeologo Giacomo Boni, il recente restauro della Soprintendenza ha riguardato non solo la rampa ma anche l’Aula che nel medioevo era stata trasformata nell’Oratorio dei Quaranta Martiri e che oggi torna a far parte del percorso di visita insieme ai posti di guardia e locali di servizio.
Source: Specchio Romano
Roman marble copy of the lost bronze Diadumenos by the Greek sculptor Polykleitos, a centerpiece of the prestigious Torlonia Collection. It is a significant example of the classical Greek "Canon" of ideal human proportions.
Zangaki, Georgios; Zangaki, Constantinos. Philae, wall relief in the temple of Isis, 1880-1900.
Greek oinochoe handle depicting Triton, acanthus leaves below his torso, and an lost object in his left hand, possibly a trident
1st century BCE
J. Paul Getty Museum 85.AM.163
MisterLemonzMen.tumblr.com/archive
Time to turn an eye toward' evening libations...
Greek bronze mirror with Pan
4th century BCE
Metropolitan Museum of Art 25.78.44a–d
Frescoes in the underground nymphaeum of Livia's Villa at Prima Porta