Jupiter still sits, austere and dignified, on a vacant throne. He still holds onto a missing staff in his left hand, most likely in the form of a lightning-bolt. While the  More »

Jupiter still sits, austere and dignified, on a vacant throne. He still holds onto a missing staff in his left hand, most likely in the form of a lightning-bolt. While the power of this god has vanished, while his kingdom of Mt. Olympus has been dissolved by modern monotheistic religions, in the presence of this bronze statue we are in awe. One need not believe to appreciate the divine presence inherent in this sculpture. He beckons us, extending his right arm forward towards us, anticipating the offerings once brought to him. This idol might have been worshipped in the private confines of a residence or in the public setting of a small temple. While the signs of his power have vanished, while the masses that once prayed to him have all faded away with time, Jupiter continues to rule divine. His image has evolved into the form of Christ. Such a presence, such energy will never die. Society just transfers and adapts the appearance across the ages. Just as the Latin language survives in the romance tongues of today, so Jupiter lives on in the guise of Jesus. Thus, God is God and shall always be; we are no closer to comprehending the divine today than we were in Ancient Rome. However, we can still appreciate the pure beauty and artistry inherent in God’s many forms. - (FZ.369)   « Less

The toga wrapped around this figure reveals his priestly status. He carries a rolled-up scroll in his left hand, another attribute of a priest, further reinforcing his  More »

The toga wrapped around this figure reveals his priestly status. He carries a rolled-up scroll in his left hand, another attribute of a priest, further reinforcing his identity. However, without any rank signifying colors, this uniform is indistinguishable from that of a magistrate or even the Pontifex Maximus, the highest-ranking priest in Roman religion. Yet when one considers the treatment of the figure, not the garments, another interpretation arises.The size of the figure’s head is disproportionately emphasized. Alas, with all of his body except his feet hidden behind the elegant folds of the toga, his head becomes his only recognizable feature. Accordingly, the sculptor has attempted to capture the likeness of a specific personage. Certain facial features such as the fleshy cheeks, the prominent chin, and the finely detailed hair that falls out from under his hood onto his forehead, all suggest that this is a unique portrait.Overall, much more than an example of imperial propaganda, this stunning sculpture is a reminder of the sophisticated intertwining roles politics, philosophy, and the arts played during the golden age of Ancient Rome. - (FZ.393)   « Less

This consummately crafted, hollow cast bronze sculpture is possessed of an inherent monumentality which belies its jewel-like, diminutive size. His long, flowing hair frames  More »

This consummately crafted, hollow cast bronze sculpture is possessed of an inherent monumentality which belies its jewel-like, diminutive size. His long, flowing hair frames his face and covers his ears. A fringe of five prominent curls laps his forehead. His crescent- shaped moustache is full and falls down alongside his mouth which it conceals. His beard is full and bifurcated. He wears a kalathos, or basket in which grained was measured out, on his head as an attribute. The kalathos serves to identify this image as Sarapis, a syncretistic deity introduced into the Greek pantheon by the early Ptolemies, who were the successors of Alexander the Great as rulers of Egypt.Tradition credits Byraxis, a Greek sculptor active in the court of Ptolemy II Philadelphus, with the creation of the cult statue of Sarapis which stood in the vast Serapeum complex in Alexandria. The monumental blocks of worked rose-colored Syenite-granite still lying about that site attest to the size and grandeur of the temple of Sarapis in Alexandria within which the famed cult statue created by Bryaxis stood. The style of the hair, beard, and moustache of this jewel-like bronze image are so close to other more monumental depictions of Sarapis in both Egyptian stones and marble that all reflect the appearance of his cult statue by Bryaxis. All of these evocations were created during the course of the second century AD when the cult of Sarapis enjoyed wide-spread popularity throughout the Roman Empire. That popularity was due in part to such Roman emperors as Hadrian whose favorite, Antinoos, was deified after having been drowned in the Nile. It is rare, indeed, to come across such an exacting evocation of an ancient cult statue created in such an aesthetically accomplished manner.   « Less

In Ancient Rome, furniture in itself was a status symbol. The poorer classes owned very little furniture, and that they did was of the most common materials in the most basic  More »

In Ancient Rome, furniture in itself was a status symbol. The poorer classes owned very little furniture, and that they did was of the most common materials in the most basic shapes and forms, such as a simple wooden stool. However, for the aristocracy classes, their home furnishing were handcrafted from the most durable materials such as marble and finished with fine decorative details created from the most luxurious materials such as gold and bronze. In fact, an aristocratic Roman Villa would not appear that distant from our modern homes. Wealthy Roman residential architecture featured hot and cold running water, a sewage drain in the kitchen, and, in the fanciest homes, hot tubs modeled after the opulent public baths. Comparably, their furnishings achieved a level of sophistication and artistry that would rival (if not surpass) the finest pieces created today. We are impressed how advanced civilization was so long ago, and yet realize that the very foundations of convenience in our modern lives are rooted in the past. Wicker chairs, wooden couches with stuffed cushions, beds supported on frames, tables for eating and drinking, storage cupboards, decorative mosaic tiles, painted walls: all of these elements could be found in a Roman house.   « Less

What a gallant creature. Slowly striding, confident and calm. This tamed horse is clearly a prized possession, not some wild beast galloping through the woods. A small,  More »

What a gallant creature. Slowly striding, confident and calm. This tamed horse is clearly a prized possession, not some wild beast galloping through the woods. A small, tiered crown has been prominently placed on top of the horsed head. The animal has been further adorned with a necklace of sorts. This decoration does not appear to be reigns or a bridal since there is nothing to secure it in place or for a rider to hold onto. If this horse was valued enough to have a sculpted effigy cast, it is not unlikely that extravagant luxuries would be festooned upon it. One thinks of dogs with diamond collars and designer sweaters. This horse is a beloved companion not a beast of burden. Just the attention to the musculature and form of the body reveal the care the craftsman took. Could this possibly be a representation of Alexander the Great’s famous steed Bucephalas, the wild horse that only he could ride? Animals will always be close companions to humans, and as we spoil ourselves with lavish luxuries, so do we our pets. Perhaps this bronze horse is just such an example. - (FZ.364)   « Less

Originally, this decorative ornament would have adorned a luxurious piece of furniture or perhaps a chariot. The work depicts the bust of a handsome young man rising out of a  More »

Originally, this decorative ornament would have adorned a luxurious piece of furniture or perhaps a chariot. The work depicts the bust of a handsome young man rising out of a circular base with a scalloped border. A semicircular handle attached to the back would have been used to attach ropes or other such supports. It is possible that this bust might be a depiction of Antinuous, the tragic lover of Emperor Hadrian. Surely the idealized beauty of this figure would be fitting the legendary looks of Antinuous, looks that captured the heart of the most powerful man in the world. It is difficult to imagine how sumptuous the item this ornament once adorned must have been, be it a chariot or a chair. Surely the workmanship and materials would have rivaled this bronze. If it was attached to a piece of furniture, we can assume that the chair or couch would have been covered in the finest fabrics and likely studded with precious jewels and gems. Surely, such an extravagant ornament would have been reserved for the wealthy elite. This ornament gives us a tantalizing taste of the opulence of the Ancient Roman Empire. - (PF.5479)   « Less

Antoninus Pius is regarded as one of the "Five Good Emperors" in Roman history. He was born in 86 AD. Around 133-136, he served in Asia as proconsul, and there he earned the  More »

Antoninus Pius is regarded as one of the "Five Good Emperors" in Roman history. He was born in 86 AD. Around 133-136, he served in Asia as proconsul, and there he earned the respect of Emperor Hadrian. After Hadrian's return from the Jewish war, Antoninus was made a member of his council not only on grounds of friendships and family connection, but also because of his experience as a jurist and administrator. After the sudden death of Lucius Aelius Caesar, Antoninus was officially adopted by Hadrian on February 25, 138 as successor to the throne. After administering the imperial offices, Hadrian died and Antoninus became emperor. Antoninus married Faustina and they had four children: two sons and two daughters. However, only one daughter was alive at the time of his adoption by Hadrian. Later, he adopted Marcus Aurelius, who was to be the successor to his throne. In 139, he gave to Marcus the name of Caesar and made him consul designate. In 146, Aurelius was recognized as Antoninus's colleague in rule, and the hopes of Rome and the fortunes of the dynasty rested upon him. Antoninus managed to govern the empire capably and yet with such a gentle hand that he earned the respect, acclaim, and love of his subjects.   « Less

Marcus Aurelius Antoninus was the Emperor of Rome from 161 until his death in 180 A.D. Born Marcus Annius Verus, he was adopted by the emperor Antoninus Pius in 138, and  More »

Marcus Aurelius Antoninus was the Emperor of Rome from 161 until his death in 180 A.D. Born Marcus Annius Verus, he was adopted by the emperor Antoninus Pius in 138, and married his daughter Annia Galeria Faustina a few years later. He succeeded to the throne without difficulty on Antoninus' death. Marcus Aurelius was educated by the best tutors in Rome and was a devotee of Stoicism. However, he felt with more religious fervor the communion of man in the unity of the universe than most other Stoics. In his later years, he wrote the Meditations as a relief from his lonely office, in which he attempts to reconcile his Stoic philosophy of virtue and self-sacrifice with his role as emperor.How many hands have touched a coin in your pocket or purse? What eras and lands have the coin traversed on its journey into our possession? As we reach into our pockets to pull out some change, we rarely hesitate to think of who might have touched the coin before us, or where the coin will venture to after it leaves our hands. More than money, coins are a symbol of the state that struck them, of a specific time and location, whether contemporary currencies or artifacts of long forgotten empires. This stunning hand-struck coin reveals an expertise of craftsmanship and intricate sculptural detail that is often lacking in contemporary machine-made currencies. Although Marcus Aurelius’ Meditations is considered among the most important books in history, his legacy extends beyond the written word. The philosophical leader Marcus Aurelius lives on in artifacts like this coin: concrete remnants of ancient empires passed from the hands of civilization to civilization, from generation to generation that appear as vibrant today as the day they were struck. - (C.2019)   « Less

This horse is no wild stallion, but instead, its closely cropped mane and ornamental trappings alert us that this domesticated steed was the prized possession of a Roman  More »

This horse is no wild stallion, but instead, its closely cropped mane and ornamental trappings alert us that this domesticated steed was the prized possession of a Roman nobleman. Perhaps it was the beloved horse belonging to the general of the Roman cavalry. Perhaps it was a racing horse that once ran laps around the competition in the Roman Hippodrome. The horse is gorgeously rendered with loving details including the long arched tail. The breast strap is decorated with incised lines and has four knobs and a crescent pendant. The halter also has decorative knobs. The animal turns its head slightly to its right and has both forelegs raised slightly off the ground in an expert rendition of equine naturalism. The horse's top tuft of hair and its ears are erect, and the tail is held to the right and attached to the hock of the right leg. This charming little sculpture reveals that mankind’s relationship to this invaluable creature is older than we might first suspect. In fact, there is little about the horse that would be out of place on a contemporary rendition. Horses provided human civilization speed and strength, whether delivering messages to far off lands or defending the borders from invaders. Much of the security that allowed the ancient world to prosper was born on the back of mighty steeds such as this one. - (X.0023)   « Less

Ancient goddess of love, Venus appears before us, a beautiful bone statuette created by a skilled Roman artist. One of the twelve Olympians, Venus (known to the Greeks as  More »

Ancient goddess of love, Venus appears before us, a beautiful bone statuette created by a skilled Roman artist. One of the twelve Olympians, Venus (known to the Greeks as Aphrodite) was one of the most celebrated deities of the ancients, known as the goddess of beauty, mother of love, queen of laughter, mistress of the graces and of pleasures, patroness of courtesans. In this gorgeous bone sculpture, her slender body conforms to the cylindrical nature of the material. She stands on a pedestal base with a mantle draped around her right knee, as if the artist was looking at larger marble examples where such a mantle would have functioned as a support of the tremendous weight of the stone. While there is no such worry when sculpting bone, the artist has retained this feature as an aesthetic device. As with similar bone sculptures, the now missing arms would have been attached to the mortises in the shoulders. Remarkably, traces of purple pigment survive on the diadem that crowns her head. This delicate sculpture captures all the grace and beauty of Venus. - (X.0025)   « Less