Mysteries and Christianity
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A View of the Horse from the Classical Perspective the Penn Museum Collection by Donald White
A View of the Horse from the Classical Perspective The Penn Museum Collection by donald white quus caballus is handsomely stabled in tive how-to manual On Horsemanship (“The tail and mane the University of Pennsylvania Museum of should be washed, to keep the hairs growing, as the tail is used Archaeology and Anthropology. From the to swat insects and the mane may be grabbed by the rider Chinese Rotunda’s masterpiece reliefs portray- more easily if long.”) all the way down to the 9th century AD ing two horses of the Chinese emperor Taizong Corpus of Greek Horse Veterinarians, which itemizes drugs for Eto Edward S. Curtis’s iconic American Indian photographs curing equine ailments as well as listing vets by name, Greek housed in the Museum’s Archives, horses stand with man and Roman literature is filled with equine references. One in nearly every culture and time-frame represented in the recalls the cynical utterance of the 5th century BC lyric poet Museum’s Collection (pre-Columbian America and the Xenophanes from the Asia Minor city of Colophon: “But if northern polar region being perhaps the two most obvious cattle and horses and lions had hands, or were able to do the exceptions). Examples drawn from the more than 30,000 work that men can, horses would draw the forms of the gods like Greek, Roman, and Etruscan vases, sculptures, and other horses” (emphasis added by author). objects in the Museum’s Mediterranean Section serve here as The partnership between horse and master in antiquity rested a lens through which to view some of the notable roles the on many factors; perhaps the most important was that the horse horse played in the classical Mediterranean world. -
Roman Coins – Mass Media for Image Cultivation
Roman Coins – Mass Media for Image Cultivation Unlike modern coins, Roman money was characterized by an enormous diversity of coin images. This reflected not so much the desire for change, however, but rather an often very purposeful policy of concrete self-interests. At the time of the Roman Republic, coins were issued on behalf of the senate by a committee of moneyers. These men decided independently what motifs their coins were to bear, and, from the late 2nd century BC, used this liberty often for family propaganda. Later, during the time of the Firs and second triumvirate (60 to 32 BC), coins were issued by several powerful Romans or their adherents. These pieces were not republican any more, but imperatorial, and used mainly for the representation of political dispositions and ambitions. In imperial times finally (from 27 BC), the rulers of Rome were in charge of the issuance of money. Naturally, they used the large Roman coins for the artful conversion of political propaganda and self-manifestation as well. 1 von 20 www.sunflower.ch Roman Republic, L. Caecilius Metellus Diadematur (or Delmaticus), Denarius, 128 BC Denomination: Denarius Mint Authority: Moneyer Lucius Caecilius Metellus Diadematus (?) Mint: Rome Year of Issue: -128 Weight (g): 3.94 Diameter (mm): 18.0 Material: Silver Owner: Sunflower Foundation This denarius bears on the obverse a traditional motif, the head of Roma, the goddess and personification of Rome, wearing a winged attic helmet; behind her is the mark XVI for the value of 16 asses. The reverse depicts a goddess driving a biga, a two-horse racing chariot. -
Chariots of Early Greece
CHARIOTS OF EARLY GREECE (PLATES 90-92) T O understand the harnessing of chariots in early Greece is no slight problem. Actual fragments are few and inconsistent, graphic representations difficult to interpret. In the course of prolonged and sometimes discouraging efforts to identify a curious bronze attachment (P1. 91, c, d) I have had occasion to review the field, including the magnificent Exekias krater from the North Slope of the Athenian Acropolis (P1. 92, c). Though my conclusions are tentative, they are offered here among the contributions in honor of the distinguished excavator of the krater, Oscar Broneer, on his eightieth birthday. Given only a few actual harness fixtures, one finds the plethora of vase illus- trations of Geometric through black-figured styles quite bewildering. The fact that the most important parts of the apparatus must be placed where the yoke joins the shaft decrees that they be partially concealedby the bodies of horses. The art grammar of archaic times with its requirementthat important objects or parts of objects appear complete in their most striking vi'ew (as, in the case of a man, with legs spread irn profile and chest in full front) makes for further difficulty, as when a round rein guide is viewed from the side. The best comprehensive studies of artists' renditions of chariots were offered by Helbig and Leaf in the 80's of the past century.1 Though ingenious and in many respects correct, their interpretations suffered from the effort to equate the Homeric description of a mule cart in Iliad, XXIV, 11.266 ff., with paintings of racing chariots and battle chariots on vases from Geometric through black figured and with My- cenaean and Assyrian art as well. -
Stellar Symbols on Ancient Coins of the Roman Empire – Part Iii: 193–235 Ad
STELLAR SYMBOLS ON ANCIENT COINS OF THE ROMAN EMPIRE – PART III: 193–235 AD ELENI ROVITHIS-LIVANIOU1, FLORA ROVITHIS2 1Dept of Astrophysics, Astronomy & Mechanics, Faculty of Physics, Athens University, Panepistimiopolis, Zographos 15784, Athens, Greece Email: [email protected] 2Email: fl[email protected] Abstract. We continue to present and describe some ancient Roman coins with astro- nomical symbols like the Moon, the Zodiac signs, the stars, etc. The coins presented in this Paper correspond to the Roman Empire covering the interval (193 - 235) AD, which corresponds mainly to the Severan dynasty. Key words: Astronomy in culture – Ancient Roman coins – Roman emperors – Stellar symbols. 1. PROLOGUE In a series of papers ancient Greek and Roman coins with astronomical sym- bols were shown, (Rovithis-Livaniou and Rovithis, 2011–2012 and 2014–2015,a&b). Especially the last two of them, hereafter referred as Paper I & II corresponded to the Roman Empire and covered the intervals 27 BD to 95 AD and 96 to 192 AD, re- spectively. Thus, the Roman numismatic system, and its coins has been examined in detail. For this reason, we do not repeat it here, where we continue with coins of the same subject covering the period (193–235) AD that corresponds mainly to the Severan dynasty. What it is worthwhile to be mentioned is that during this time interval, and when there was some numismatic crisis, the silver contain of the denary was reduced. For example during Caracalla’s[1] epoch a specific silver plated coin with less silver than denary was issued the so-called antonianus or the radiative. -
Celtic Coins and Their Archetypes
Celtic Coins and their Archetypes The Celts dominated vast parts of Europe from the beginning of the 5th century BC. On their campaigns they clashed with the Etruscans, the Romans and the Greeks, they fought as mercenaries under Philip II and Alexander the Great. On their campaigns the Celts encountered many exotic things – coins, for instance. From the beginning of the 3rd century, the Celts started to strike their own coins Initially, their issued were copies of Greek, Roman and other money. Soon, however, the Celts started to modify the Greek and Roman designs according to their own taste and fashion. By sheer abstraction they managed to transform foreign models into typically Celtic artworks, which are often almost modern looking. 1 von 27 www.sunflower.ch Kingdom of Macedon, Alexander III the Great (336-323 BC) in the Name of Philip II, Stater, c. 324 BC, Colophon Denomination: Stater Mint Authority: King Alexander III of Macedon Mint: Colophon Year of Issue: -324 Weight (g): 8.6 Diameter (mm): 19.0 Material: Gold Owner: Sunflower Foundation Through decades of warfare, King Philip II had turned Macedon into the leading power of the Greek world. In the summer of 336 BC he was assassinated, however, and succeeded by his son Alexander, who would later be known as "the Great." This coin was minted one year before Alexander's death. It bears a beautiful image of Apollo. The coin is a so-called Philip's stater, as Alexander's father Philip had already issued them for diplomatic purposes (bribery thus) and for the pay of his mercenaries. -
Ancient Lamps in the J. Paul Getty Museum
ANCIENT LAMPS THE J. PAUL GETTY MUSEUM Ancient Lamps in the J. Paul Getty Museum presents over six hundred lamps made in production centers that were active across the ancient Mediterranean world between 800 B.C. and A.D. 800. Notable for their marvelous variety—from simple clay saucers GETTYIN THE PAUL J. MUSEUM that held just oil and a wick to elaborate figural lighting fixtures in bronze and precious metals— the Getty lamps display a number of unprecedented shapes and decors. Most were made in Roman workshops, which met the ubiquitous need for portable illumination in residences, public spaces, religious sanctuaries, and graves. The omnipresent oil lamp is a font of popular imagery, illustrating myths, nature, and the activities and entertainments of daily life in antiquity. Presenting a largely unpublished collection, this extensive catalogue is ` an invaluable resource for specialists in lychnology, art history, and archaeology. Front cover: Detail of cat. 86 BUSSIÈRE AND LINDROS WOHL Back cover: Cat. 155 Jean Bussière was an associate researcher with UPR 217 CNRS, Antiquités africaines and was also from getty publications associated with UMR 140-390 CNRS Lattes, Ancient Terracottas from South Italy and Sicily University of Montpellier. His publications include in the J. Paul Getty Museum Lampes antiques d'Algérie and Lampes antiques de Maria Lucia Ferruzza Roman Mosaics in the J. Paul Getty Museum Méditerranée: La collection Rivel, in collaboration Alexis Belis with Jean-Claude Rivel. Birgitta Lindros Wohl is professor emeritus of Art History and Classics at California State University, Northridge. Her excavations include sites in her native Sweden as well as Italy and Greece, the latter at Isthmia, where she is still active. -
2016-03-13 CHARIOTS on COINS Article.Htm
Ancient Greek and Roman Chariots on Coins See the different types of chariots depicted on coins of ancient Greece and Rome The ancient Greeks and Romans used the chariot for war, racing, processions and travel. On ancient coins, the chariot was featured being driven by emperors, important personages and even gods and goddesses. They were usually pulled by horses, but on ancient coins sometimes even by flying serpents and goats. There is a certain excitement associated with the chariot that is almost archetypal. The Latin word "carrus" is the root of the English word "chariot". Imagine the excitement the ancient spectators would feel as they saw chariots racing around the Circus Maximus in Rome or even other parts of the empire. Chariots are a fascinating topic of study and collecting. See the sights and feel the feeling with these authentic ancient coins depicting the chariot here. Click here to see all coins with a chariot. Biga, Triga and Quadriga chariots on ancient ancient Roman coins. Biga means a two horse, triga means a three horse and a quadriga means four horse chariot. A chariot pulled by goats! By winged serpents, with this depiction of Triptolemus. By even elephants! There is even a story about Pompey the Great who tried to use a chariot pulled by elephants for his triumphal march through Rome. It couldn't fit through the gates though, so he had to get on a regular chariot pulled by horses. There was a Greek general who had a battle on the streets of one of the Greek cities he tried to conquer. -
Luna (Goddess)
לונה لونا Luna (goddess) lecti).[9] In this list, Luna is distinguished from both Diana and Juno, who also appear on it. The Romans dated the cultivation of Luna as a goddess at Rome to the semi-legendary days of the kings. Titus Tatius was supposed to have imported the cult of Luna to Rome from the Sabines,[10] but Servius Tullius was credited with the creation of her temple on the Aventine Hill, just below a temple of Diana.[11] The anniversary of the temple founding (dies natalis) was celebrated annu- ally on March 31.[12] It first appears in Roman literature Ox-drawn biga of Luna on the Parabiago plate (ca. 2nd–5th in the story of how in 182 BC a windstorm of exceptional centuries AD) power blew off its doors, which crashed into the Tem- ple of Ceres below it on the slope.[13] In 84 BC, it was In ancient Roman religion and myth, Luna is the di- struck by lightning, the same day the popularist leader [14] vine embodiment of the Moon (Latin luna; cf. English Cinna was murdered by his troops. The Aventine tem- “lunar”). She is often presented as the female comple- ple may have been destroyed by the Great Fire of Rome [15] ment of the Sun (Sol) conceived of as a god. Luna is during the reign of Nero. also sometimes represented as an aspect of the Roman As Noctiluna (“Night-Shiner”) Luna had a temple on the triple goddess (diva triformis), along with Proserpina and Palatine Hill, which Varro described as shining or glow- Hecate. -
6 Chariot Races and Water Shows
CHARIOT RACES AND WATER SHOWS 189 6 Chariot Races and Water Shows Chariot Races Roman tradition hailed the circus races as the oldest of Rome’s spectacles, established informally by Romulus, Rome’s legendary founder, himself. The first races afforded a key opportunity for the Romans in the extended narrative of the origins of Roman identity. Frustrated by his attempts to arrange inter- marriage with neighboring peoples like the Sabines, Romulus decided to work toward his goal using subterfuge, by hosting a regional festival in honor of the god Consus (a.k.a. Neptune) that included ludi circenses or chariot races. Source: Livy 1.9:1 Deliberately hiding his resentment, [Romulus] prepared to celebrate the Consualia, a solemn festival in honor of Neptune, patron of the horse, and sent notice of his intention all over the neighboring countryside. The better to advertise it, his people lavished upon their preparations for the spectacle all the resources – such as they were in those days – at their command . all the Sabines were there too, with their wives and children . Then the great moment came; the show began, and nobody had eyes or thoughts for anything else. This was the Romans’ opportunity: at a given signal all the able-bodied men burst through the crowd and seized the young women. Source: Ovid, Art of Love 1.103–108:2 You first, Romulus, did disturb the games, when the rape of Sabine women consoled the wifeless men. No awnings then hung over a marble theater, nor was the platform red with the spray of crocuses; there, artlessly arranged, were garlands which the leafy Palatine had brought forth; the stage was unadorned; the people sat on rows of turf, any chance leaves covering their unkempt hair. -
The Denarius – the Main Currency of Roman Times
The Denarius – the Main Currency of Roman Times The denarius was the most important silver coin in ancient Rome for almost 500 years. In the border territories of the realm it was later often copied by tribes of the Migration Period. Originally, one denarius equaled the 72nd part of a Roman pound. After the introduction of regular gold coinage under Julius Caesar, the silver content of the denarius gradually depreciated, however, until the Roman silver currency finally collapsed. With the introduction of the antoninian and later of the argenteus, the imperial silver currency was to be resurrected, yet in vain. What remained of the proud traditional silver denarius in the end, was a copper coin of minor value. 1 von 13 www.sunflower.ch Roman Republic, Denarius, c. 211 BC Denomination: Denarius Mint Authority: Roman Republic Mint: Rome Year of Issue: -211 Weight (g): 4.45 Diameter (mm): 20.0 Material: Silver Owner: Sunflower Foundation The silver denarius was introduced shortly before 211 BC. The coin was needed to pay the mercenaries in the Roman armies for their services, because these foreigners had no use for the traditional Roman bronze coins. The denarius was to become the major silver coin of the Roman Empire for the next 400 years. Significant is that the denarius was related to Rome's long-established bronze coin system: the X on the left of Roma's head on the obverse indicates "10 asses." The Latin term "denarius" literally means "tenner." The reverse depicts the Dioscuri Castor and Pollux and the inscription ROMA. 2 von 13 www.sunflower.ch Roman Republic, L. -
The Collection of Roman Republican Coins of a Student and His Mentor – Part II
AUCTION 73 18 November 2013 The Collection of Roman Republican Coins of a Student and his Mentor – Part II Hotel Baur au Lac Talstrasse 1, 8022 Zurich Tel. + 41 (44) 220 50 20 NUMISMATICA ARS CLASSICA NAC AG www.arsclassicacoins.com Niederdorfstrasse 43 3rd Floor Genavco House Postfach 2655 17 Waterloo Place CH – 8022 Zurich London SW1Y 4AR – UK Tel. +41 (44) 261 1703 Tel. +44 (20) 7839 7270 Fax +41 (44) 261 5324 Fax +44 (20) 7925 2174 [email protected] [email protected] Auktionsbedingungen Durch die Teilnahme an der Auktion werden die folgenden Bedingungen anerkannt: 1. Die Versteigerung erfolgt in Schweizerfranken. Der Zuschlag erfolgt nach dreimaligem Aufruf an den Höchstbietenden, dessen Gebot vom Auktionator anerkannt wurde und verpflichtet zur Annahme. Der Ausruf erfolgt in der Regel bei 80%, sofern nicht höhere Angebote vorliegen. Schriftliche Gebote haben Vorrang. Jeder Ersteigerer verpflichtet sich persönlich für die durch ihn getätigten Käufe. Er kann nicht geltend machen, für Rechnung Dritter gehandelt zu haben. 2. Telefonische oder schriftliche Bietaufträge (auch auf elektronischem Weg) von nichtanwesenden Interessenten werden bis 24 Stunden vor Auktionsbeginn entgegengenommen. Telefonische Bieter sind damit einverstanden, dass das Gespräch aufgezeichnet werden kann. Das Auktionshaus übernimmt keinerlei Haftung für schriftliche und telefonische Bietaufträge. 3. Bieter werden gebeten, sich vor der Auktion zu legitimieren und anschliessend registrieren zu lassen. Das Auktionshaus kann eine Bankreferenz und/oder Sicherheiten verlangen. Es steht im Ermessen des Auktionshauses, eine Person nicht an der Auktion teilnehmen zu lassen. 4. Es steht dem Versteigerer nach seinem Ermessen frei, ein Gebot heraufzusetzen oder ohne Angabe von Gründen abzulehnen. Der Versteigerer behält sich ferner das Recht vor, Lose zu vereinigen, zu trennen, ausserhalb der Reihenfolge anzubieten oder wegzulassen bzw. -
Elite Ideology in Praeneste on the Imagery of Pear-Shaped Mirrors and Cistae
BABESCH 91 (2016), 105-128. doi: 10.2143/BAB.91.0.3175646 Elite ideology in Praeneste On the imagery of pear-shaped mirrors and cistae L. Bouke van der Meer Abstract This article aims to cast light upon the mindset of the Praenestine elite during the second half of the 4th century BC by focusing on the engraved scenes on 206 pear-shaped mirrors and 90 cistae (toiletry boxes). Mauro Menichetti’s paideia theory implying that cista scenes show rites of passage of men and women will be exam- ined, also with reference to the mirror scenes. It will be shown that in both media Dionysiac, bathing-, victory-, and love themes are the leitmotifs rather than rites of passage. The paper also includes several new interpreta- tions of images. Appendix I lists the cistae and Appendix II the mirrors.* INTRODUCTION that they were elite possessions. As far as is known, they have only been found in female tombs. Their What were the main ideas behind the images rep- imagery, however, not only relates to the mundus resented on the bronze Praenestine mirrors and muliebris but also to the world of men. This is not cistae produced in the second half of the 4th cen- surprising since, as three inscriptions show, the tury BC? These mythological and non-mytholog- engravings were made by men.7 In addition, men ical representations appear on 206 engraved, may have ordered the artifacts for their wives, pear-shaped mirrors of bronze,1 and 90 bronze mothers or daughters. Sometimes a mirror was cistae.2 The piriform shape of Praenestine mirrors found in a cista.8 In that case, however, both arti- is unique; it differs from the circular form of Etrus- facts seem not to have been engraved by the same can handle and tang mirrors.