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A Roman defixio (curse tablet) against Rhodinē.

This curse tablet was found in the funerary area of the Via Latina, not far from Rome, and dates to the mid-1st century BC.

Here is a translation of the Latin text on the tablet:

“Just as the dead man who is buried here can neither speak nor talk, so may Rhodine die as far as Marcus Licinius Faustus is concerned and not be able to speak nor talk. As the dead man is received neither by gods nor humans, so may Rhodine be received by Marcus Licinius and have as much strength as the dead man who is buried here. Dis Pater, I entrust Rhodine to you, that she be always hateful to Marcus Licinius Faustus. Also Marcus Hedius Amphio. Also Gaius Popillius Apollonius. Also Vennonia Hermiona. Also Sergia Glycinna.” -Audollent, Defixionum tabellæ, 1904, no. 139.

This artefact can currently be viewed at the Baths of Diocletian, Rome. Photos courtesy of & taken by Marie-Lan Nguyen.

A new stone carving has been discovered at Arbeia Roman fort, at South Shields at the eastern end of Hadrian's Wall.

The small but well-carved head is broken at the neck, suggesting it came from a statuette depicting a full figure. Above the benignly smiling face sits a mural crown - representing the towers of a city or fortress.

The mural crown marks the deity out as a Tyche - the protective personification of a place. In this instance, it is believed that the deity represents Brigantia, the personified protective goddess of the Romano-British tribe of the same name, whose lands covered large swathes of northern England.

The head came from a part of the fort changed when it was expanded in the early 3rd Century, suggesting that the shrine site might have been redundant by that time. In 1895 an altar dedicated to Brigantia was also found at the fort.

#roman religion #roman #hadrian's wall #brigantia #sculpture

A copper alloy figurine of a female figure, veiled as if ready to perform a sacrifice and holding a patera. The figure might represent a priestess. Found at Arbeia Roman fort and in the collections of the Great North Museum

#roman religion #arbeia #roman #figurine #priestess

Hydria with scene from a story of Dionysus (Bacchus). While travelling to Greece by sea, pirates overtook Dionysus’ ship. They repeatedly tied him up but the ropes wouldn’t fasten. Dionysus then began to cover the ship with vines. In their desperation to escape the pirates leaped into the sea, turning into dolphins as they did so.

On this hydria, Dionysus is represented by the vines on the left of the scene.

#bacchus #roman religion #dionysus #vase #greek

ancientart

The Roman Temple of Portunus, Rome, Italy, 1st century B.C.E.

The year 221 B.C.E. was a turning point both for Rome and for Roman art. Breaking with precedent, Marcellus, conqueror of the fabulously wealthy Sicilian Greek city of Syracuse, brought back to Rome not only the usual spoils of war -captured arms and armor, gold and silver coins, and the like- but also the city’s artistic patrimony. Thus began, in the words of the historian Livy, “the craze for works of Greek art.” […] Nevertheless, although the Romans developed a virtually insatiable taste for Greek “antiques,” the Etruscan basis of Roman art and architecture was never forgotten. The buildings and statues of the Roman Republic are highly eclectic, drawing on both Greek and Etruscan traditions.

Eclecticism is the primary characteristic of the Republican temple on the east bank of the Tiber popularly known as the Temple of the Fortuna Virilis. It is actually a temple dedicated to Portunus, the Roman god of harbors. Its plan follows the Etruscan pattern with a high podium and a flight of steps only at the front. Freestanding columns are confined to the deep porch. But the structure is built of stone (local tufa and travertine), overlaid originally with stucco in imitation of Greek marble.

The columns are not Tuscan but Ionic, complete with flutes and bases, and there is a matching Ionic freeze. Moreover, in an effort to approximate a peripteral Greek temple yet maintain the basic Etruscan plan, the architect added a series of engaged Ionic half columns to the sides and back of the cella. The result was a pseudoperipteral temple. Although the design combines Etruscan and Greek elements, the resultant mix is uniquely Roman.

-Gardner’s Art Through the Ages, Enhanced Edition, Volume I.

Photo courtesy & taken by Darkroom Daze.

#roman religion #jupiter #britain #cambridge #sculpture

Archaeologists from the University of Münster excavating the ancient sanctuary of Jupiter Dolichenus near the town of Dülük in southern Turkey have unearthed more than 600 stamp and cylinder seals dating from between the 7th and the 4th centuries B.C.

#roman religion #turkey #roman #jupiter #temple

rosebiar

Visit metmuseum.org ~ Gold ring with carnelian intaglio: winged Nemesis. Imperial Period. 1st–early 3rd century A.D. Culture: Roman, Cypriot Medium: Carnelian, gold

#roman religion #nemesis #roman #ring #intaglio

#cerberus #roman religion #underworld #turkey #archaeology

Many omens for Caligula's approaching death were reported. While the statue of Olympian Jupiter was being dismantled before removal to Rome, at his command, it burst into such a roar of laughter that the scaffolding collapsed and the workmen took to their heels; and a man named Cassius appeared immediately afterwards saying that Jupiter had ordered him, in a dream, to sacrifice a bull... ... On the night before his assassination [Caligula] dreamed that he was standing beside Jupiter's heavenly throne, when the God kicked him with the great toe of his right foot and sent him tumbling to earth.

Suetonius, Gaius Caligula

#roman religion #suetonius #caligula #emperor #jupiter

mini-girlz

Roman Bronze Nude Aphrodite Wearing a Crown and Eros

On her extended left palm, and a pomegranate in her upraised right hand; on original base. The Eros is ancient but not shown in de Ridder. Later 2nd Century AD H. 9 5/8 in. (24 cm)

via > artfinding.com

Ganymede was a young shepherd from Troy, chosen by Zeus to be the cup bearer of the Gods on Mount Olympus. Zeus transformed into an eagle to carry the boy to his new destiny. His image can be seen to represent homosexual desire and love, and the fact that he was chosen by Zeus as an allegory for an older male choosing a young male lover.

Marble sculpture in the Naples Archaeological Museum

#ganymede #eagle #roman religion #mythology #naples

studiojrr

Roman Forum Digital Photograph 2013 JRR Studio

ancientromebuildings

Temple of Mars Ultor by night…a great photo

italianartsociety

Julius Caesar dedicated the Temple of Venus Genetrix in Rome on this day in 46 BCE. Caesar traced his ancestry to Aeneas, son of the Roman goddess of love and beauty. In dedicating the temple to Venus Genetrix, Caesar drew attention to her role as mother. Typical of Roman temples, the sanctuary was raised on a high podium and held a cult statue of Venus as well as portrait statues of Caesar himself. The original temple was destroyed by fire in 80 CE and was rebuilt by Emperor Domitian and restored by Trajan. Three columns survive from the second temple.

Temple of Venus Genetrix, rebuilt by Trajan 113 CE, Rome

Plan of Imperial Fora, Rome

Silver denarius of Julius Caesar, reverse: Aeneas carrying palladium and his father Anchises, 47-46 BCE. New York: The Metropolitan Museum of Art: Rogers Fund, 1908.170.80

This weekend, I finally managed to make the short trip across to Nottingham to see 'The Treasure of Nemi' exhibition at Nottingham Castle Museum before it closes. The exhibition explores the famous shrine to Diana on Lake Nemi, southeast of Rome

#roman religion #nemi #italy #nottingham #museum

likeavirgil

Oval gem with rooster-headed, snake-legged deity in armor, holding a whip

Roman, Imperial Period, mid 2nd–3rd century

"The rooster-headed, snake-legged deity is clad in a Roman chestplate (cuirass). He holds an Egyptian flail in his right hand and a small round shield in his left. The shield bears the name ‘IAW’ (Jahweh, the Jewish god) as a protective emblem. This mysterious anguipede (snake-legged) figure is common on magical gems. The reverse is inscribed with the name of Jahweh, followed by ‘Lord of Hosts’ and a magical name (Abraxas). The amulet invokes charisma for a man named Ptolemy. His name is inscribed over an earlier name that was removed from the gem so that Ptolemy could use it.”

Source: http://www.mfa.org/collections/object/oval-gem-with-rooster-headed-snake-legged-deity-in-armor-holding-a-whip-314229

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