Go to Index, Part I, Part II, Part III, Part IV, Part V, Part VI, Part VII, Part VIII, Part IX, Part X, Part XI, Part XIII, Part XIV, Part XV, Roman Coins: Republic and Principate, Roman Coins: Empire, Greek Coins, Coins from the Museum of Cultural History, University of Oslo, Coins from the National Museum in Warsaw, Poland, Coins from the Hunterian Museum
statue of a Roman woman, from the era of Trajan or Hadrian, early second century CE
She wears a palla draped over her head; the statue has some modern restorations.
Florence, Loggia dei Lanzi. Credits: Barbara McManus, 2004
statue of a Roman woman, from the era of Trajan or Hadrian, early second century CE
Her hair is arranged in a high peak in the Flavian manner; the statue has some modern restorations.
Florence, Loggia dei Lanzi. Credits: Barbara McManus, 2004
statue of a Roman woman, from the era of Trajan or Hadrian, early second century CE
Her hair is arranged in a high peak in the Flavian manner; the statue has some modern restorations.
Florence, Loggia dei Lanzi. Credits: Barbara McManus, 2004
distance slab, Antonine wall, Bridgeness, Scotland, mid-second century CE
This inscription commemorates the building of the easternmost part of the Antonine Wall in Scotland. On the left, a Roman cavalryman triumphs over covering natives; on the right, soldier perform religious ceremonies to bring the army success. The inscription can be translated as "for the emperor Caesar Titus Aelius Hadrianus Antoninus Pius, father of the fatherland, the second Augustan Legion built [this wall] for a distance of 4652 paces."
Edinburgh, National Museum of Scotland. Credits: Barbara McManus, 2004
bronze arm purse for coins; Roman, second-third century CE
This type of purse was particularly used by Roman soldiers, especially legionaries.
London, British Museum. Credits: Barbara McManus, 2001
Keywords: military; money
bronze arm purse for coins, from Croy Hill fort on the Antonine Wall; Roman, mid-second century CE
This purse is viewed from above so that the slot for coins is clearly visible.
London, British Museum. Credits: Barbara McManus, 2001
Keywords: military; money
corner of Great Bath viewed from above, in the city of Bath, England; Roman, first-sixth century CE
This large pool, heated by natural springs and lined with lead, was originally covered by a high vaulted ceiling.
Bath, Roman Baths Museum. Credits: Barbara McManus, 1986
Keywords: bathing; leisure; thermae
mosaic depicting female athletes; Roman, fourth century CE
The women, popularly known today as "bikini girls," are exercising with weights and a large ball, running,
playing ball, and receiving a palm and crown dsignating victory in a competition. This unusual mosaic
decorated the floor of a small room in a luxurious private Roman villa built in Sicily in
the early fourth century CE.
Piazza Armerina, Villa Romana del Casale. Credits: Barbara McManus, 2008
Keywords: exercise; female undergarments
detail; mosaic of 2 female athletes playing ball; Roman, fourth century CE
This is a detail of the above mosaic from a luxurious private Roman villa built in Sicily in
the early fourth century CE.
Piazza Armerina, Villa Romana del Casale. Credits: Barbara McManus, 2008
Keywords: exercise; female undergarments
detail; mosaic of a boar hunt; Roman, fourth century CE
This is a detail of a mosaic from a luxurious private Roman villa built in Sicily in the early fourth century
CE. Three hunters with dogs are trying to help a fallen comrade who has been gored by a wild boar. One
prepared to hurl a large stone at the boar, while the boar grabs the spear of another in its mouth.
Piazza Armerina, Villa Romana del Casale. Credits: Barbara McManus, 2008
Keywords: leisure; hunting; animals
circus mosaic detail; charioteer for the Blues; Roman, fourth century CE
larger version.
This is a detail of a mosaic from a luxurious private Roman villa built in Sicily in the early fourth century
CE. A charioteer dressed in the tunic of the Blue stable parades his team of four horses.
Piazza Armerina, Villa Romana del Casale. Credits: Barbara McManus, 2008
Keywords: sport; chariot racing
circus mosaic detail; charioteer for the Whites; Roman, fourth century CE
This is a detail of a mosaic from a luxurious private Roman villa built in Sicily in the early fourth century
CE. A charioteer dressed in the tunic of the White stable races his four galloping horses.
Piazza Armerina, Villa Romana del Casale. Credits: Barbara McManus, 2008
Keywords: sport; chariot racing
circus mosaic detail; charioteer for the Greens; Roman, fourth century CE
This is a detail of a mosaic from a luxurious private Roman villa built in Sicily in the early fourth century
CE. A charioteer dressed in the tunic of the Green stable
(smaller version) receives
the palm of victory and winner's purse
from an official while an attendant plays the Roman trumpet (tuba).
Piazza Armerina, Villa Romana del Casale. Credits: Barbara McManus, 2008
Keywords: sport; chariot racing
cinerary altar of government secretaries; from Rome, first half of the first century CE
This beautifully carved altar was set up for Q. Fulvius Faustus and his brother Quintus Fulvius Priscus, who
served as scribae librarii (public secretaries or clerks) of the curule aediles.
The upper relief shows the brothers at work handling tablets, while
the lower relief shows citizens, some holding scrolls or small tablets, gesturing toward the inscription in admiration (note the presence of women and children).
Rome, Terme Diocleziano (National Museums). Credits: Barbara McManus, 2004
Keywords: scribe; freedmen; writing
drawing of a Roman street stall; modern
London, Museum of London. Credits: Barbara McManus, 2008
Keywords: commerce, business
implements for writing; Roman
Ink pot, pens, and styli are ancient, the wax tablet and writing on papyrus are modern replicas.
Saalburg, Museum. Credits: Barbara McManus, 1988
marble bust of Caligula; found at Rome, 37-41 CE
The emperor wears a cuirass and the oak-leaf crown (corona civica), part of which has broken off.
Copenhagen, Ny Carlsberg Glyptotek. Credits: Barbara McManus, 2008
bronze coin bank; Roman, 25-50 CE
another view
The bank is shaped like a seated beggar girl with curly hair and a tunic with copper stripes.
She holds out her right hand with palm up asking for money, while her left hand holds out the front of her tunic to reveal the slot for coins.
Malibu, Getty Villa. Credits: Barbara McManus, 2009
Keywords: children; childhood; coins; saving
bronze portable abacus, Roman, second century CE
detail: slots marked for ones, tens, hundreds;
detail: slots marked for thousands, ten thousands, hundred thousands, millions.
The top slots, representing units of 5, originally had one grooved bead each, while the bottom slots, representing units of one, originally had four beads each.
Paris, Cabinet des Médailles, Bibliothèque Nationale. Credits: Barbara McManus, 2009
Keywords: commerce; calculations; mathematics
Luna marble bust of Ulpia Marciana, from the Baths at Porta Marina, Ostia; second century CE
Marciana was the sister of Trajan and grandmother of Hadrian's wife Sabina. Her elaborate tiered hairstyle reflects styles of the period.
Ostia, Museo Archeologico Ostiense. Credits: Barbara McManus, 2007
funerary inscription of Severa Seleuciane, 279 CE
smaller version.
A small spindle or shuttle and upright loom,
symbols of traditional feminine virtue (or perhaps an indication that the couple were weavers by trade), are carved in one corner of the slab. The inscription states that Severa had lived with Aurelius Sabutius for 17 years and had died in the third consulship of the emperor Probus Augustus and the second of Nonius Paternus (279 CE). Some of the words and grammar on the inscription are unusual, particularly the first word, cumcumvixit, and the reference to a second date 10 years earlier is confusing; perhaps it refers to the death of Aurelius.
Rome, Tabularium (Capitoline Museums). Credits: Barbara McManus, 2007
funerary altar of Cornelia Tyche and Julia Secunda; Roman, 150-165 CE
Julius Secundus dedicated this altar to his daughter, Julia Secunda (depicted as a portrait bust on the
left), and his wife, Cornelia Tyche (whose portrait bust is shown on the right, topped with coils of braided
hair reminiscent of the empress Faustina the Elder). Only the front of this altar is extant; the inscription
on the side (see
reconstruction drawing),
now lost, recorded the story of their deaths in a shipwreck off the coast of Spain. The altar's
pediment is engraved with two
empty chairs flanked by the symbols of the virgin goddess Diana--a quiver and bow--on the left and the goddess Fortuna (Tyche in Greek)--cornucopia, torch, rudder, and wheel--on the right. A two-paneled
inscription
below the portraits tells the viewer that Julia, not yet 12, was remarkable for her beauty, good
character, and learning, while her mother, 39, was an incomparable wife and mother.
Paris, Louvre Museum. Credits: Barbara McManus, 2005; 2009
marble funerary relief of young man; Roman, early second century CE
The deceased young man reclines on a couch beneath his dead father's shield-portrait (which may indicate a military career); he holds a scroll in his left hand and a large moneybag in his right. His
grieving mother, her
palla pulled up over her elegant Flavian hairstyle, is seated on the right, with her arm tenderly resting on her son's shoulder. The
slave standing on the left
is operating an
abacus, which symbolizes the family's success in business.
Rome, Palazzo Nuovo (Capitoline Museums). Credits: Barbara McManus, 2003; 2007
Keywords: commerce; calculations; mathematics
funerary inscription covering a columbarium niche; Roman, first half of the first century CE
This marble slab covered a niche (loculus) containing an urn with ashes in the columbarium of the Statilius family in Rome. It is dedicated to a scribe or copyist named Nothus by his wife (since the word coniunx is used, Nothus and his wife must have been freedpeople). The
inscription takes the form of an
elegiac poem lamenting that Nothus was carried off by Pluto in his prime.
Rome, Terme Diocleziano (National Museums). Credits: Barbara McManus, 2007
Keywords: freedmen; writing; burial
Cancelleria Relief A; Roman, 93-95 CE
smaller version.
One of two large relief panels found in the Palazzo della Cancelleria in Rome, dating to the latter part of Domitian's reign. This panel depicts the profectio (departure) of Domitian on a military campaign;
however, the head of Domitian has been recarved with a portrait of Domitian's successor Nerva after
Domitian's assassination and damnatio memoriae, making the head look too small for the body.
The procession is headed by a
lictor, carrying the fasces, a bundle of rods with an axe symbolizing a magistrate's authority. The war gods Mars and Minerva face the emperor, while the helmeted goddess Roma stands behind him, her hand supporting his elbow. Behind Roma are
two symbolic
personifications. The bearded older figure, representing the Senate (Genius Senati), wears a toga
and carries a magistrate's staff; the bare-chested younger figure, representing the Roman people (Genius
Populi Romani), carries a cornucopia. Together these figures symbolize the SPQR (senatus populusque
romanus). Behind them are the
soldiers (probably members of the Praetorian Guard), each dressed for travel with a neck scarf (focale) and poncho-like cloak (paenula). The first carries a spear and small round shield; the others carry oval shields decorated with lightning bolts, moons and stars and carry javelins (pila); the heavy metal balls that weighted the javelins are clearly visible.
Rome, Gregoriano Profano, Vatican Museums. Credits: Barbara McManus, 2007
Keywords: military, state relief, imperial symbolism
Cancelleria Relief B; Roman, 93-95 CE
smaller version.
One of two large relief panels found in the Palazzo della Cancelleria in Rome, dating to the latter part of Domitian's reign. This fragmentary panel depicts the adventus (arrival) of Vespasian in Rome after his victory in the civil wars in 69 CE.; a
detail of the central scene shows the new emperor greeting his youthful son Domitian, who is wearing an elaborate toga; the Genius Senati and Genius Populi Romani are shown in low relief behind the main figures. The
left side depicts a special kind of lictor representing religious rather than political power (lictor curiatius) who always accompanied Vestal Virgins in public. In front of him stands a young
Vestal Virgin, wearing a distinctive headdress composed of a band of wool wrapped several times around the head (infula) with long looped side pieces (vittae).
Rome, Gregoriano Profano, Vatican Museums. Credits: Barbara McManus, 2007
Keywords: state relief, imperial symbolism, religion
marble funerary altar of Tiberius Claudius Dionysius; Roman, first century CE
The inscription states that the altar was set up by Claudia Prepontis for her well-deserving patron and for herself. Dionysius, probably a freedman himself, had freed his own slave Prepontis. The
couple are depicted clasping
right hands in the dextrarum iunctio gesture that symbolized marriage, but Prepontis names Dionysius
only as patron, so it is possible that they were not married according to Roman civil law, either because he
had freed her informally or only in his will. This altar and the following relief were found near the Tor Sapienza in Rome; the altar may have been inside the tomb and the relief fastened to an outside wall.
Rome, Gregoriano Profano, Vatican Museums. Credits: Barbara McManus, 2007
Keywords: freed slaves, freedpeople
marble funerary relief of Tiberius Claudius Dionysius; Roman, first century CE
This commemorates the same individual as the previous altar. The
inscription states that the altar was set up by Claudia Prepontis for her well-deserving patron and for herself and their offspring. The portraits of the
couple closely resemble those in the altar. In a typical
mourning scene, the deceased
Dionysius is shown lying on a couch (lectus) as if asleep; the grief-stricken Prepontis sits beside him resting her chin on her hand, while a pet dog prepares to leap up onto the couch.
Rome, Gregoriano Profano, Vatican Museums. Credits: Barbara McManus, 2007
Keywords: freed slaves, freedpeople
marble funerary cippus of Grania Faustina; Roman, 130-140 CE
The inscription states
that the monument was set up by a servus publicus (public slave, owned by the state) whose name may have
been Papias (the inscription gives the shortened form PAPI) for his most beloved and well-deserving
contubernalis, Grania Faustina, and for himself and their offspring. Although Grania Faustina was
probably free (public slaves frequently "married" freedwomen or even freeborn Roman women), he uses the term
for "slave partner" because slaves did not have conubium, the right to contract a legally recognized
Roman marriage. The relief,
however, borrows the symbolism of citizen marriage. The father is shown in a toga, with his hand on the
shoulder of his small son, who reaches up to clasp his mother's hand. Three birds pecking at fruit appear in
the pedimental slab on top of the cippus.
Rome, Gregoriano Profano, Vatican Museums. Credits: Barbara McManus, 2007
Keywords: freed slaves, freedpeople
gold scarab relief of Hera Lakinia; Greek, from southern Italy (possibly Kroton), 350-300 BCE
The relief is mounted on a silver band to form a ring; it swivels and can be turned to the other side, which shows a low-relief carving of a scarab. Hera Lakinia had two temples in Kroton, one in the town, and a very large and rich temple on a high cliff overlooking the sea at Cape Lakinia.
Malibu, Getty Villa. Credits: Barbara McManus, 2009
Keywords: religion; Juno
marble funerary altar of Maena Mellusa; Roman, first century CE (possibly Claudian period)
detail: figures and inscription.
The inscription states that the altar was set up by Gaius Oenucius Delus for his wife, Maena Mellusa,
freedwoman of Lucius (Maenus), and for himself. Added below in smaller letters, above the two figures of
children, are references to two sons, Dexter, who lived 11 months, and Sacerdus, who lived 3 months and 10
days. The relief carving shows a woman with her palla pulled over her head seated on a low stool. She
cradles an infant in her left arm and stretches her right hand out to a toddler wearing only a small cloak,
who leans on her left knee with his hand under his chin. Although Mellusa is termed "wife" (UXORI) and
explicitly named as a freedwoman, the names of the two boys indicate that they must have died while still
slaves. The couple's names indicate that they were freed by different patrons, so they must have been
separated before attaining freedom. Still, they wished to commemorate the children they had borne in slavery.
Thus this altar testifies to the strong family feelings that could endure despite the difficulties imposed by
slavery.
Rome, Vatican Museums, Chiaramonti Corridor. Credits: Barbara McManus, 2007
Keywords: freed slaves, freedpeople
sarcophagus of a young girl; Roman, Carrara marble, 160-180 CE
The dead girl is shown lying
on a couch (lectus) as if sleeping; her sandals lie beneath the couch where her pet dog is playing,
while other children lean on the couch. On the left, her
mother grieves, sitting on a
high-backed chair with her palla pulled over her head; she is surrounded by other children. On the right, her
father, wearing a
cucullus on his head, also grieves; he sits on a backless folding stool and is accompanied by other
adult males.
London, British Museum. Credits: Barbara McManus, 2001
Keywords: childhood; funerary
marble funerary stele of a couple, from Soa (modern Altintas in Turkey), Roman period
The Greek inscription reads "Aphion dedicated her husband, Gaius, to the savior Hecate, and Apellas and Gaius have honored the memory of their parents." The stele is signed by the stone cutter. The
couple are shown in a traditional pose, and the wife holds in her hand a distaff and spindle, symbol of feminine virtue. Above them, are
beautifully carved symbols of daily life, including a wax tablet on the left, and on the right a bird standing on a wool basket, a comb, and
a mirror. The eastern religious cults are depicted in the central figures, including the two young males
carrying lunar symbols, and the figure of
Artemis Pergaia/Diana Pergensis, with her head surrounded by a rayed halo and the symbol of the crescent moon, imported from Perge,
capital of Pamphylia. The most important deity, however is
Hecate, the triple-bodied
goddess who is Diana's underworld representative, to whom Aphion dedicated the spirit of her husband.
Istanbul, National Archaeological Museum. Credits: Barbara McManus, 2007
Keywords: funerary; religion; eastern provinces
Go to Index, Part I, Part II, Part III, Part IV, Part V, Part VI, Part VII, Part VIII, Part IX, Part X, Part XI, Part XIII, Part XIV, Part XV, Roman Coins: Republic and Principate, Roman Coins: Empire, Greek Coins, Coins from the Museum of Cultural History, University of Oslo, Coins from the National Museum in Warsaw, Poland, Coins from the Hunterian Museum
revised July, 2011
