Origin: Mediterranean Circa: 300 AD to 400 AD Dimensions: 3.54" (9.0cm) high x 2.28" (5.8cm) wide Collection: Biblical Antiquities Style: Talmudic Medium: Terracotta

Origin: Mediterranean Circa: 300 AD to 400 AD Dimensions: 3.54" (9.0cm) high x 2.28" (5.8cm) wide Collection: Biblical Antiquities Style: Talmudic Medium: Terracotta   « Less

Origin: Mediterranean Circa: 300 AD to 400 AD Dimensions: 2.91" (7.4cm) high x 2.24" (5.7cm) wide Collection: Biblical Antiquities Style: Talmudic Medium: Terracotta

Origin: Mediterranean Circa: 300 AD to 400 AD Dimensions: 2.91" (7.4cm) high x 2.24" (5.7cm) wide Collection: Biblical Antiquities Style: Talmudic Medium: Terracotta   « Less

Origin: Mediterranean Circa: 300 AD to 400 AD Dimensions: 3.46" (8.8cm) high x 2.44" (6.2cm) wide Collection: Biblical Antiquities Style: Talmudic Medium: Terracotta

Origin: Mediterranean Circa: 300 AD to 400 AD Dimensions: 3.46" (8.8cm) high x 2.44" (6.2cm) wide Collection: Biblical Antiquities Style: Talmudic Medium: Terracotta   « Less

In "The Golden Ass" of the Roman author Apuleius, we learn of the prominent place of donkeys and mules in the cults of fertility deities like Isis. This exquisitely modeled  More »

In "The Golden Ass" of the Roman author Apuleius, we learn of the prominent place of donkeys and mules in the cults of fertility deities like Isis. This exquisitely modeled votive was almost certainly an offering made to the gods in return for their fecund blessings. Bold and robust, it is clearly no patient beast of burden, but a donkey of almost human personality, one with a mind of his own. - (FZ.007)   « Less

The flower in the center of this young man's hair suggests that he may be one of the youthful gods associated with fertility and the resurrection rites of spring. Such  More »

The flower in the center of this young man's hair suggests that he may be one of the youthful gods associated with fertility and the resurrection rites of spring. Such deities as Adonis and Attis were worshipped in the classical world because their cults promised perpetual renewal and rebirth, a triumph over death. In the charming features of this young person we see youthful optimism, eternal and unaging. - (FZ.114)   « Less

This statuette created in precious silver depicts Jupiter, king of the gods of the Roman Pantheon. In keeping with his elevated status, the god is shown with a full head of  More »

This statuette created in precious silver depicts Jupiter, king of the gods of the Roman Pantheon. In keeping with his elevated status, the god is shown with a full head of thickly curled hair, adorned with a crown. His head is turned sharply to the right with its glance cast straight ahead, as if he is momentarily scrutinizing one of his subjects. The lowered hand of his right arm holds a thunderbolt, rendered in the traditional Roman fashion, which is the exclusive attribute of Jupiter, thereby insuring the identification of this figure.   « Less

In antiquity, even everyday household objects could achieve an astounding beauty. Here Fortuna, whimsical goddess of success and plenty, gracefully balances herself atop a  More »

In antiquity, even everyday household objects could achieve an astounding beauty. Here Fortuna, whimsical goddess of success and plenty, gracefully balances herself atop a slender pillar to provide support for a lamp. As the lamp shed its light, so the goddess was to bestow her benevolent blessings on the household, bringing prosperity. The loveliness of this rare piece has remained intact through the ages, and so, we believe, has its lucky magic.The Goddess Fortuna, identified with the Greek goddess Tyche, is often depicted carrying a cornucopia (“horn of plenty”), and a ship’s rudder. Here, we see the cornucopia in her left arm, and her right hand may possibly have steadied a udder while she stood.In addition to her role as the goddess of fortune, however, Tyche was also the personification of a concept - tyche - that both intrigued and inspired ancient Greek poets, philosophers, writers, and artists. This concept was variously interpreted over the years, and represented not only fortune, but also luck, success, or even chance.   « Less

Calm and serene as befits a goddess of healing, Hygiea casts her benevolent gaze upon the world. This sensitive work is almost certainly based on a larger prototype, perhaps  More »

Calm and serene as befits a goddess of healing, Hygiea casts her benevolent gaze upon the world. This sensitive work is almost certainly based on a larger prototype, perhaps the cult statue of Hygiea that stood at the sanctuary of her mythological father, Asklepios, god of medicine, on the island of Kos. Draped in flowing robes, she holds the sacred serpent of Asklepios, one of the pair that entwined around the physician's caduceus. In the classical age, this exquisite bronze has not dimmed her healing magic. In her presence, we feel renewed and at peace. - (FZ.219)   « Less

The Lares were the household gods, the guardian spirits of every great Roman family. Along with the Penates, guardians of the storeroom, the Lares were at the heart of Roman  More »

The Lares were the household gods, the guardian spirits of every great Roman family. Along with the Penates, guardians of the storeroom, the Lares were at the heart of Roman domestic religion. It was the duty of the Lares to keep order and balance within the house, to maintain the family spirit across time. Most noble homes throughout the empire included a shrine to these gods, in which pictures or statues of the deites were enclosed. In his expressive gestures and lively pose, this winged Lar shows the strong influence of Hellenistic culture. He is draped in young grape vines, which may be a reference to the family's source of income, or merely symbols of abundance. Very likely, this Lar was created for a noble provincial family that was seeking to adopt traditional Roman ways. A masterpiece of the sculptor's art, observed with elegant anatomical accuracy, he still retains his ancient power. Looking upon him, we feel the joy and optimism of life at its best. - (FZ.257)   « Less

This statuette depicts a young ram standing at ease with its head, inclined and slightly turned to the left. It appears to be casting an inquisitive gaze into the distance.  More »

This statuette depicts a young ram standing at ease with its head, inclined and slightly turned to the left. It appears to be casting an inquisitive gaze into the distance. The ram’s head is well- modeled with attention paid to the details of the eyes and muzzle as well as to the tuft of hair on its forehead. Its ears are framed by curling horns, their relatively small size indicative of the fairly young age of our ram.The artist has paid particular attention to the ornamentation of its fleece which is both full and thick. Such attention to detail also characterizes the depiction of its fat tail. This naturalistic detail permits one to identify our ram as a member of the wool-bearing species of sheep (Ovis aries platyura), the characteristics of which also include horns which spring back on the head but curve downward and forward. Such animals were prized in antiquity for their wool, as is evident from the thick coat of our example before shearing. The style of our bronze ram suggests a dating into the Roman Imperial Period of the second century A.D. Such figures were extremely popular in the Eastern Mediterranean provinces of the empire where they were used as offerings, symbolically representing animals sacrificed at festivals. There is, however, a growing body of evidence to suggest that such offerings may also symbolically represent deities associated with specific animals and, perhaps, even the deities themselves. In this regard, one recalls the incident in which the citizens of Athens punished a man because he had flayed a ram while it was still alive. Such action was not unparalleled because numerous ancient Greek philosophers including Pythagoras were pioneers of animal rights. Description and interpretation kindly provided by Prof. Robert. S. Bianchi. - (FZ.341)   « Less