• Roman Black and White Geometric mosaic decorations  from  a Villa of Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a white background.
  • Roman Black and White Geometric mosaic decorations  from  a Villa of Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a grey background.
  • Roman Black and White Geometric mosaic decorations  from  a Villa of Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against an art background.
  • 4th Century AD Roman Opus Sectile Mosaic of a chariot & 4 horses from the basilica de Giunio Basso.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a white background.
  • 4th Century AD Roman Opus Sectile Mosaic of a chariot & 4 horses from the basilica de Giunio Basso.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • 4th Century AD Roman Opus Sectile Mosaic depicting nymphs from the basilica de Giunio Basso .  Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a white background.
  • 4th Century AD Roman Opus Sectile Mosaic depicting nymphs from the basilica de Giunio Basso .  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • Roman Geometric  Swastica mosaic decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • Roman Black and White Geometric mosaic decorations  from  a Villa of Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a black background.
  • Roman Black and White Geometric mosaic decorations  from  a Villa of Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • 4th Century AD Roman Opus Sectile Mosaic of a chariot & 4 horses from the basilica de Giunio Basso.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a black background.
  • 4th Century AD Roman Opus Sectile Mosaic of a chariot & 4 horses from the basilica de Giunio Basso.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a grey background.
  • 4th Century AD Roman Opus Sectile Mosaic of a chariot & 4 horses from the basilica de Giunio Basso.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against an art background.
  • Third century AD Roman Opus Sectile mosaic depicting a head from Santa Prisca, a titular church, on the Aventine Hill, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a white background.
  • Third century AD Roman Opus Sectile mosaic depicting a head from Santa Prisca, a titular church, on the Aventine Hill, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a black background.
  • Third century AD Roman Opus Sectile mosaic depicting a head from Santa Prisca, a titular church, on the Aventine Hill, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a grey background.
  • Third century AD Roman Opus Sectile mosaic depicting a head from Santa Prisca, a titular church, on the Aventine Hill, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against an art background.
  • Third century AD Roman Opus Sectile mosaic depicting a head from Santa Prisca, a titular church, on the Aventine Hill, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • 4th Century AD Roman Opus Sectile Mosaic depicting nymphs from the basilica de Giunio Basso .  Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against a black background.
  • 4th Century AD Roman Opus Sectile Mosaic depicting nymphs from the basilica de Giunio Basso .  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • 4th Century AD Roman Opus Sectile Mosaic depicting nymphs from the basilica de Giunio Basso .  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • 4th Century AD Roman Opus Sectile Mosaic depicting nymphs from the basilica de Giunio Basso .  Museo Nazionale Romano ( National Roman Museum), Rome, Italy. Against an art background.
  • 4th Century AD Roman Opus Sectile Mosaic of a chariot & 4 horses from the basilica de Giunio Basso.  Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • Roman Geometric  Swastica mosaic decorations of the Triclinium C, Villa Farnesia, Rome. Museo Nazionale Romano ( National Roman Museum), Rome, Italy.
  • Roman geometric floor mosaic  from the Villa of Castel di Guido, Rome. 1st century AD. National Roman Museum, Rome, Italy
  • Roman floor mosaic with birds and floral decorations.  From via Imperale, now Columbus, near the Porta Ardeatina, Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic with diminutional cube designs, from a Roman villa near Casale de S.Basilio near Via Nomentana, Rome. 1st century BC. National Roman Museum, Rome, Italy
  • Roman floor mosaic with birds and floral decorations.  From via Imperale, now Columbus, near the Porta Ardeatina, Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman  geometric floor mosaic  with a bust at its centre. From the Forte Prenestino area of Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic with roses and flowers, from the Pietra Papa area near the Flavian Gate, Rome. 125-150 BC. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic  from the Villa of Castel di Guido, Rome. 1st century AD. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic with roses and flowers, from the Pietra Papa area near the Flavian Gate, Rome. 125-150 BC. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic  from the Villa of Castel di Guido, Rome. 1st century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic with roses and flowers, from the Pietra Papa area near the Flavian Gate, Rome. 125-150 BC. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic with roses and flowers, from the Pietra Papa area near the Flavian Gate, Rome. 125-150 BC. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Geometric Roman floor mosaic. From the  Grotte Celoni area of the via Casilina, Rome. End of 1st and beginning of 2nd century AD. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic  from the Villa of Castel di Guido, Rome. 1st century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic with roses and flowers, from the Pietra Papa area near the Flavian Gate, Rome. 125-150 BC. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic with black and white diamonds shapes. From the Roman villa near Botte, Rome. 1st century BC . National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic with swastikas. From the Roman villa near Botte, Rome. 1st century BC . National Roman Museum, Rome, Italy
  • Roman  floor mosaic . National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the boats on the Nile. From the Cellae vinariae Nova and Arruntiana by the Tiber in Lungara, Rome. Start of 2nd century AD. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Black and white floor mosaic showing the marine or sea thiasos depicting Poseidon and his retinue.. From the area between the Milvian Bridge and  l'Acqua Acetosa in the locality Tor di Quinto. End of 2nd century AD. National Roman Museum, Rome, Italy
  • Roman floor mosaic of a tragic actors mask from the  Villa de Ruffinella, Tusculum. End of 1st and beginning of 2nd century AD. National Roman Museum, Rome, Italy
  • Geometric Roman floor mosaic. From the  Grotte Celoni area of the via Casilina, Rome. End of 1st and beginning of 2nd century AD. National Roman Museum, Rome, Italy
  • Roman mosaic with cat and ducks. From the Roman villa on Via Ardeatina, next to Cecchignola, Rome. This Roman mosaic floor panel represents a cat trying to catch a bird in flight and two ducks, one of which is holding a lotus flower in its beak. The style is similar to Hellenistic paintings. The mosaic was found in the triclinium of a Roman villa dating from the first quarter of the 1st century AD and features a central panel using a style known as “opus Vermiculatum” or small tiles to give a greater detail to the mosaic. inv 124137 National Roman Museum, Rome, Italy
  • Floor mosaic with satyr heads and pan.  From a Roman villa which probably belonged to Marcus Aurelius and Lucius Verus. Genazzano. Circo 138-192 AD. National Roman Museum, Rome, Italy
  • Floor mosaic with satyr heads and pan.  From a Roman villa which probably belonged to Marcus Aurelius and Lucius Verus. Genazzano. Circo 138-192 AD. National Roman Museum, Rome, Italy
  • Floor mosaic with satyr heads and pan.  From a Roman villa which probably belonged to Marcus Aurelius and Lucius Verus. Genazzano. Circo 138-192 AD. National Roman Museum, Rome, Italy
  • Floor mosaic with Dionysus and satyrs at the center within laurel wreath. From the villa of Farnese at S.Giacomo in Settimiana, Rome. 2nd century AD. National Roman Museum, Rome, Italy
  • Roman mosaic of a bust of Dionysus from the Via Flaminia, Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman floor mosaic with birds and floral decorations.  From via Imperale, now Columbus, near the Porta Ardeatina, Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman mosaic of a bust of Dionysus from the Via Flaminia, Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman mosaic of a bust of Dionysus from the Via Flaminia, Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman  floor mosaic depicting pastral scenes and scenes from mythology  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. end of 2nd and beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting Charioteers and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting Green Faction Charioteer  and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting Green Faction Charioteer and his horse from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting Red Faction Charioteer and his horse from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting Red Faction Charioteer and his horse from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting Green Faction Charioteer and his horse from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting Blue Faction Charioteer and his horse from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting horsemen and their horses from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic depicting Blue Faction Charioteer and his horse from the Circus  from  a room of a villa  in the locality Baccano near the Via Cassia, Rome. Beginning of the 3rd century AD. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic with diminutional cube designs, from a Roman villa near Casale de S.Basilio near Via Nomentana, Rome. 1st century BC. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic with diminutional cube designs, from a Roman villa near Casale de S.Basilio near Via Nomentana, Rome. 1st century BC. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic with diminutional cube designs, from a Roman villa near Casale de S.Basilio near Via Nomentana, Rome. 1st century BC. National Roman Museum, Rome, Italy
  • Roman geometric floor mosaic with diminutional cube designs, from a Roman villa near Casale de S.Basilio near Via Nomentana, Rome. 1st century BC. National Roman Museum, Rome, Italy
  • Roman floor mosaic with birds and floral decorations.  From via Imperale, now Columbus, near the Porta Ardeatina, Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman floor mosaic with birds and floral decorations.  From via Imperale, now Columbus, near the Porta Ardeatina, Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman floor mosaic with birds and floral decorations.  From via Imperale, now Columbus, near the Porta Ardeatina, Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman floor mosaic with birds and floral decorations.  From via Imperale, now Columbus, near the Porta Ardeatina, Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman mosaic of a bust of Dionysus from the Via Flaminia, Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman mosaic of a bust of Dionysus from the Via Flaminia, Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman mosaic of a bust of Dionysus from the Via Flaminia, Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman floor mosaic from the  Villa de Ruffinella, Tusculum. End of 1st and beginning of 2nd century AD. National Roman Museum, Rome, Italy
  • Roman mosaic of a bust of Dionysus from the Via Flaminia, Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman floor mosaic from the  Villa de Ruffinella, Tusculum. End of 1st and beginning of 2nd century AD. National Roman Museum, Rome, Italy
  • Roman floor mosaic  depicting the struggle between Dionysus and the Indians. From the  Villa de Ruffinella, Tusculum. 4th century AD. National Roman Museum, Rome, Italy
  • Roman floor mosaic from the  Villa de Ruffinella, Tusculum. End of 1st and beginning of 2nd century AD. National Roman Museum, Rome, Italy
  • Roman floor mosaic  depicting the struggle between Dionysus and the Indians. From the  Villa de Ruffinella, Tusculum. 4th century AD. National Roman Museum, Rome, Italy
  • Roman floor mosaic  depicting the struggle between Dionysus and the Indians. From the  Villa de Ruffinella, Tusculum. 4th century AD. National Roman Museum, Rome, Italy
  • Roman floor mosaic  depicting the struggle between Dionysus and the Indians. From the  Villa de Ruffinella, Tusculum. 4th century AD. National Roman Museum, Rome, Italy
  • Roman floor mosaic  depicting the struggle between Dionysus and the Indians. From the  Villa de Ruffinella, Tusculum. 4th century AD. National Roman Museum, Rome, Italy
  • Roman  geometric floor mosaic  with a bust at its centre. From the Forte Prenestino area of Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman  geometric floor mosaic  with a bust at its centre. From the Forte Prenestino area of Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman mosaic floor panes depicting the  seasons. From Capannelle area of the Via Appia Nova, Rome. 4th to 5th century AD. National Roman Museum, Rome, Italy
  • Roman  geometric floor mosaic  with a bust at its centre. From the Forte Prenestino area of Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman  geometric floor mosaic  with a bust at its centre. From the Forte Prenestino area of Rome. 3rd century AD. National Roman Museum, Rome, Italy
  • Roman mosaic floor panes depicting the  seasons. From Capannelle area of the Via Appia Nova, Rome. 4th to 5th century AD. National Roman Museum, Rome, Italy
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman statue of Augustus as Pontifex Maximus, circa 17-14 BC.  This statue of Augustus was typical of the approved style that Augustus used to control his public image. As Pontifex Maximus the statue emphasises the piety of the ruler and his reverence for the gods and traditions of Rome. Augustus thus revitalised the role and function of the most ancient Roman priesthoods and exalted the myths that narrated the origins of Rome. The statue is part of the political propaganda that Augustus used to cement his position of first amongst equals to the very conservative Romans.  National Roman Museum, Rome.
  • Roman relief panel showing a Barbarian, circa 98-117 AD from the Palace of Montecitorio, Rome. This  relief panel is part of a larger work. It represents a battle and the figure can be identified as a barbarian by his eastern style tunic and thick beard. Judging by the quality of the execution, the relief must have belonged to an important public monument situated in the area of the Campus Martius .  Inv 39163, National Roman Museum, Rome.
  • Roman relief panel showing a Barbarian, circa 98-117 AD from the Palace of Montecitorio, Rome. This  relief panel is part of a larger work. It represents a battle and the figure can be identified as a barbarian by his eastern style tunic and thick beard. Judging by the quality of the execution, the relief must have belonged to an important public monument situated in the area of the Campus Martius .  Inv 39163, National Roman Museum, Rome.
  • Roman bust of Socrates, 1st cent AD from the construction site of the monument to Vitorio Emanuel II,  Rome, Italy. This portrait of Socrates is similar to the Herm of Socrates from the Naples National Museum. In xenophon’s Symposium socrates is described as ‘Short body with wide shoulders, prominent belly, aquiline nose, thick wide mouth and head almost completely bold. In 399 BC the famous Athenian philosopher was condemned to death for impiety and corruption. Inv 1236, National Roman Museum, Rome.
  • Roman bust of Socrates, 1st cent AD from the construction site of the monument to Vitorio Emanuel II,  Rome, Italy. This portrait of Socrates is similar to the Herm of Socrates from the Naples National Museum. In xenophon’s Symposium socrates is described as ‘Short body with wide shoulders, prominent belly, aquiline nose, thick wide mouth and head almost completely bold. In 399 BC the famous Athenian philosopher was condemned to death for impiety and corruption. Inv 1236, National Roman Museum, Rome.
  • Roman bust of Socrates, 1st cent AD from the construction site of the monument to Vitorio Emanuel II,  Rome, Italy. This portrait of Socrates is similar to the Herm of Socrates from the Naples National Museum. In xenophon’s Symposium socrates is described as ‘Short body with wide shoulders, prominent belly, aquiline nose, thick wide mouth and head almost completely bold. In 399 BC the famous Athenian philosopher was condemned to death for impiety and corruption. Inv 1236, National Roman Museum, Rome.
  • Roman relief sculpture on the Christian sarcophagus side od Marcus Claudianus depicting scenes from  the new testament , circa 330 - 335 AD from the via della Lungara near S.Giacomo in Settimiana, Rome, Italy. National Roman Musuem, Rome.
  • Roman relief sculpture on the Christian sarcophagus side od Marcus Claudianus depicting scenes from  the new testament , circa 330 - 335 AD from the via della Lungara near S.Giacomo in Settimiana, Rome, Italy. National Roman Musuem, Rome.
  • Roman relief sculpture on the Christian sarcophagus side od Marcus Claudianus depicting scenes from  the new testament , circa 330 - 335 AD from the via della Lungara near S.Giacomo in Settimiana, Rome, Italy. National Roman Musuem, Rome.
  • Roman relief sculpture on the Christian sarcophagus side od Marcus Claudianus depicting scenes from  the new testament , circa 330 - 335 AD from the via della Lungara near S.Giacomo in Settimiana, Rome, Italy. National Roman Musuem, Rome.
  • Roman relief sculpture on the Christian sarcophagus side od Marcus Claudianus depicting scenes from  the new testament , circa 330 - 335 AD from the via della Lungara near S.Giacomo in Settimiana, Rome, Italy. National Roman Musuem, Rome.
  • Roman relief sculpture on a sarcophagus side showing a married couple with pagan deities, circa 270 - 280 AD from the via Latina, Rome, Italy. National Roman Musuem, Rome.
  • Roman relief sculpture on a sarcophagus side showing a married couple with pagan deities, circa 270 - 280 AD from the via Latina, Rome, Italy. National Roman Musuem, Rome.
  • Roman relief sculpture on a sarcophagus side showing a married couple with pagan deities, circa 270 - 280 AD from the via Latina, Rome, Italy. National Roman Musuem, Rome.
  • Roman relief sculpture on a sarcophagus side showing a married couple with pagan deities, circa 270 - 280 AD from the via Latina, Rome, Italy. National Roman Musuem, Rome.
  • Roman relief sculpture on a sarcophagus side showing a married couple with pagan deities, circa 270 - 280 AD from the via Latina, Rome, Italy. National Roman Musuem, Rome.
  • Roman relief sculpture on a sarcophagus side depiction the Muses, circa 280 - 290 AD from the Villa Celimontana. National Roman Musuem, Rome.
  • Roman statue of an Emperor with a breastplate (loricata) from the 2nd cent AD from the Imperial Villa, Rome. The statue depicts a man in military dress, with a breastplate (lorca) decorated within griffins and a cluster of acanthus, and edged by a series of pendants (pteryges) with a head of ferocious animals and a cloak (paludamentum). In his left hand remains the traces of a sword; his raised right arm probably leant on a spear. On his feat he wears shoes decorated at the ankles with a lion skin. The statue dates from the dynasty of the Antonine Emperors and is the dress of the supreme military commander.  The National Roman Museum, Rome, Italy
  • Roman statue of an Emperor with a breastplate (loricata) from the 2nd cent AD from the Imperial Villa, Rome. The statue depicts a man in military dress, with a breastplate (lorca) decorated within griffins and a cluster of acanthus, and edged by a series of pendants (pteryges) with a head of ferocious animals and a cloak (paludamentum). In his left hand remains the traces of a sword; his raised right arm probably leant on a spear. On his feat he wears shoes decorated at the ankles with a lion skin. The statue dates from the dynasty of the Antonine Emperors and is the dress of the supreme military commander.  The National Roman Museum, Rome, Italy
  • Roman statue of an Emperor with a breastplate (loricata) from the 2nd cent AD from the Imperial Villa, Rome. The statue depicts a man in military dress, with a breastplate (lorca) decorated within griffins and a cluster of acanthus, and edged by a series of pendants (pteryges) with a head of ferocious animals and a cloak (paludamentum). In his left hand remains the traces of a sword; his raised right arm probably leant on a spear. On his feat he wears shoes decorated at the ankles with a lion skin. The statue dates from the dynasty of the Antonine Emperors and is the dress of the supreme military commander.  The National Roman Museum, Rome, Italy
  • Roman statue of an Emperor with a breastplate (loricata) from the 2nd cent AD from the Imperial Villa, Rome. The statue depicts a man in military dress, with a breastplate (lorca) decorated within griffins and a cluster of acanthus, and edged by a series of pendants (pteryges) with a head of ferocious animals and a cloak (paludamentum). In his left hand remains the traces of a sword; his raised right arm probably leant on a spear. On his feat he wears shoes decorated at the ankles with a lion skin. The statue dates from the dynasty of the Antonine Emperors and is the dress of the supreme military commander.  The National Roman Museum, Rome, Italy
  • Roman statue of an Emperor with a breastplate (loricata) from the 2nd cent AD from the Imperial Villa, Rome. The statue depicts a man in military dress, with a breastplate (lorca) decorated within griffins and a cluster of acanthus, and edged by a series of pendants (pteryges) with a head of ferocious animals and a cloak (paludamentum). In his left hand remains the traces of a sword; his raised right arm probably leant on a spear. On his feat he wears shoes decorated at the ankles with a lion skin. The statue dates from the dynasty of the Antonine Emperors and is the dress of the supreme military commander.  The National Roman Museum, Rome, Italy
  • Roman mask from the  National Roman Museum, Rome, Italy
  • Roman mask from the  National Roman Museum, Rome, Italy
  • Roman mask from the  National Roman Museum, Rome, Italy
  • Roman mask from the  National Roman Museum, Rome, Italy
  • Roman mask from the  National Roman Museum, Rome, Italy
  • Roman decoration panel of Medusa from a Roman ship, the age of Calligula, 37-41 AD, made from bronze. The head of the medusa is an example of refined craftsmanship. The detail of the hair, the scales, the snakes and the nostrils were made using hand held tools . the work is at its most frightening when viewed from a low anyle suggesting that it was designed to be places high up on the ship .  The National Roman Museum, Rome, Italy
  • Roman decoration panel of Medusa from a Roman ship, the age of Calligula, 37-41 AD, made from bronze. The head of the medusa is an example of refined craftsmanship. The detail of the hair, the scales, the snakes and the nostrils were made using hand held tools . the work is at its most frightening when viewed from a low anyle suggesting that it was designed to be places high up on the ship .  The National Roman Museum, Rome, Italy
  • Roman decoration panel of Medusa from a Roman ship, the age of Calligula, 37-41 AD, made from bronze. The head of the medusa is an example of refined craftsmanship. The detail of the hair, the scales, the snakes and the nostrils were made using hand held tools . the work is at its most frightening when viewed from a low anyle suggesting that it was designed to be places high up on the ship .  The National Roman Museum, Rome, Italy
  • Roman decoration panel of Medusa from a Roman ship, the age of Calligula, 37-41 AD, made from bronze. The head of the medusa is an example of refined craftsmanship. The detail of the hair, the scales, the snakes and the nostrils were made using hand held tools . the work is at its most frightening when viewed from a low anyle suggesting that it was designed to be places high up on the ship .  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Roman decoration panels that covered the end of the beams from a Roman ship, from the age of Calligula, 37-41 AD, made from bronze. The forearms were used to ward off evil the extended gesture was meant to keep danger away.  The National Roman Museum, Rome, Italy
  • Double sided Roman herm of Dionysus from the mid 2nd cent. AD excavated from the via Sallustiani, Rome. This bust shows Dionysus with his traditional band around his head, he appears as a youthful man on one side and as a mature man with a beard on this sid.   The National Roman Museum, Rome, Italy
  • Double sided Roman herm of Dionysus from the mid 2nd cent. AD excavated from the via Sallustiani, Rome. This bust shows Dionysus with his traditional band around his head, he appears as a youthful man on one side and as a mature man with a beard on this sid.   The National Roman Museum, Rome, Italy
  • Double sided Roman herm of Dionysus from the mid 2nd cent. AD excavated from the via Sallustiani, Rome. This bust shows Dionysus with his traditional band around his head, he appears as a youthful man on one side and as a mature man with a beard on this sid.   The National Roman Museum, Rome, Italy
  • Double sided Roman herm of Dionysus from the mid 2nd cent. AD excavated from the via Sallustiani, Rome. This bust shows Dionysus with his traditional band around his head, he appears as a youthful man on one side and as a mature man with a beard on this sid.   The National Roman Museum, Rome, Italy
  • Roman statue of Hercules from the mid 2nd cent. AD excavated from the Via Appia. Hercules is portrayed as a mature man at rest, his naked body wrapped in a lion skin; he probably geld his club in his left hand. His style of dress was typical of that used in the Roman theatre. The statue of Hercules is a reworking of a Greek original dating from around the 2nd or 3rd cent. BC .  Inv  115165, The National Roman Museum, Rome, Italy
  • Roman statue of Hercules from the mid 2nd cent. AD excavated from the Via Appia. Hercules is portrayed as a mature man at rest, his naked body wrapped in a lion skin; he probably geld his club in his left hand. His style of dress was typical of that used in the Roman theatre. The statue of Hercules is a reworking of a Greek original dating from around the 2nd or 3rd cent. BC .  Inv  115165, The National Roman Museum, Rome, Italy
  • Roman statue of Hercules from the mid 2nd cent. AD excavated from the Via Appia. Hercules is portrayed as a mature man at rest, his naked body wrapped in a lion skin; he probably geld his club in his left hand. His style of dress was typical of that used in the Roman theatre. The statue of Hercules is a reworking of a Greek original dating from around the 2nd or 3rd cent. BC .  Inv  115165, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the mid 2nd cent. AD excavated from the Villa Spithoever, via Flavia, Rome, Italy. Papposilenus, the aged Silenus was tutor to Cionysus. In this statue he is portrayed with a hairy coat accentuating his wild nature. When the statue was complete it may have had its right arm held up grasping a bunch of grapes and a cup of wine in the left hand. The statue is copied from a late hellenistic original dating from 2nd cent. BC known as the satyr pouring wine by Greek sculptor Praxiteles circa 370-300 BC .  Inv  78294, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • Roman statue of Silenus or Papposilenus from the second half of the 2nd cent. AD excavated from the Villa Marittima, Torre Astura Italy.  Silenus was the tutor to Dionysus is portrayed here as he was portrayed on stage in the Roman theatres. His mask is that of the theatre and he is wearing a lambskin cloak and hairy tights.  Inv 135769, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman relief sculpture panel decorated on both sides with masks from the second half of the 1st cent. AD excavated from the Valle Giardino, Nemi, Italy. The panel is sculpted on both sides; the front side depicts the half moon shaped face of a deity wearing a crown.  Inv 112158, The National Roman Museum, Rome, Italy
  • Roman statue of a young Satyr from the Hadranic period circa 117-138 AD excavated from an area near the via XX Settembre and Via Firenza, Rome, Italy. A young Satyr, wearing a panther’s skin tied on the right shoulder, plays the tibia oblique (flute) whist reclining next to a tree trunk. The statue is based on a Greek prototype from the school of Greek sculptor Praxiteles created around 300 BC.  Inv 551, The National Roman Museum, Rome, Italy
  • Roman statue of a young Satyr from the Hadranic period circa 117-138 AD excavated from an area near the via XX Settembre and Via Firenza, Rome, Italy. A young Satyr, wearing a panther’s skin tied on the right shoulder, plays the tibia oblique (flute) whist reclining next to a tree trunk. The statue is based on a Greek prototype from the school of Greek sculptor Praxiteles created around 300 BC.  Inv 551, The National Roman Museum, Rome, Italy
  • Roman statue of a young Satyr from the Hadranic period circa 117-138 AD excavated from an area near the via XX Settembre and Via Firenza, Rome, Italy. A young Satyr, wearing a panther’s skin tied on the right shoulder, plays the tibia oblique (flute) whist reclining next to a tree trunk. The statue is based on a Greek prototype from the school of Greek sculptor Praxiteles created around 300 BC.  Inv 551, The National Roman Museum, Rome, Italy
  • Roman statue of a young Satyr from the Hadranic period circa 117-138 AD excavated from an area near the via XX Settembre and Via Firenza, Rome, Italy. A young Satyr, wearing a panther’s skin tied on the right shoulder, plays the tibia oblique (flute) whist reclining next to a tree trunk. The statue is based on a Greek prototype from the school of Greek sculptor Praxiteles created around 300 BC.  Inv 551, The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of an African Acrobat from early Imperial period excavated from the Villa Patrizi, via Nomentana, Rome, Italy. A young African performs an acrobatic trick very similar to those performed by tribal members from an area of the Nile, the Tentyitae (described by Pliny in Naturalis Historia), where skilled divers dive into the water from the backs of crocodiles. The work is based on a hellenistic original and here has beed adapted for the Roman period as a fountain decoration. The hole in the acrobats mouth is a water spout.  Inv 40009, The National Roman Museum, Rome, Italy  The National Roman Museum, Rome, Italy
  • Roman statue of Apollo. known as the Chigi Apollo,  mid 2nd cent. AD from the Imperial Villa, Rome. As suggested by the quiver strap slung across the body, the god held a bow and arrow , in a pose of absorbed meditation. Wrapped around the tree trunk which acts as a support are gods attributes: the laurel and the snake. This classical statue is a reworking of an original Greek statue of the 4th cent. BC.  Inv 75675, The National Roman Museum, Rome, ItalyThe National Roman Museum, Rome, Italy
  • Roman statue of Apollo. known as the Chigi Apollo,  mid 2nd cent. AD from the Imperial Villa, Rome. As suggested by the quiver strap slung across the body, the god held a bow and arrow , in a pose of absorbed meditation. Wrapped around the tree trunk which acts as a support are gods attributes: the laurel and the snake. This classical statue is a reworking of an original Greek statue of the 4th cent. BC.  Inv 75675, The National Roman Museum, Rome, ItalyThe National Roman Museum, Rome, Italy
  • Roman statue of Apollo. known as the Chigi Apollo,  mid 2nd cent. AD from the Imperial Villa, Rome. As suggested by the quiver strap slung across the body, the god held a bow and arrow , in a pose of absorbed meditation. Wrapped around the tree trunk which acts as a support are gods attributes: the laurel and the snake. This classical statue is a reworking of an original Greek statue of the 4th cent. BC.  Inv 75675, The National Roman Museum, Rome, ItalyThe National Roman Museum, Rome, Italy
  • Roman statue of Apollo. known as the Chigi Apollo,  mid 2nd cent. AD from the Imperial Villa, Rome. As suggested by the quiver strap slung across the body, the god held a bow and arrow , in a pose of absorbed meditation. Wrapped around the tree trunk which acts as a support are gods attributes: the laurel and the snake. This classical statue is a reworking of an original Greek statue of the 4th cent. BC.  Inv 75675, The National Roman Museum, Rome, ItalyThe National Roman Museum, Rome, Italy
  • Roman bust of a female deity, circa 117-138 AD from the Villa Adriana (Hadrian), Tivoli, Italy. The head, made separately for insertion onto a larger than life size body, is that of a female deity; type is known from other copies from a Greek original, probably from Attic circa 470-460 B.C. The bust was found in Hadrian’s villa and is therefore dated to 117-138 AD. The National Roman Museum, Rome, Italy
  • Roman bust of a female deity, circa 117-138 AD from the Villa Adriana (Hadrian), Tivoli, Italy. The head, made separately for insertion onto a larger than life size body, is that of a female deity; type is known from other copies from a Greek original, probably from Attic circa 470-460 B.C. The bust was found in Hadrian’s villa and is therefore dated to 117-138 AD. The National Roman Museum, Rome, Italy
  • Roman bust of a female deity, circa 117-138 AD from the Villa Adriana (Hadrian), Tivoli, Italy. The head, made separately for insertion onto a larger than life size body, is that of a female deity; type is known from other copies from a Greek original, probably from Attic circa 470-460 B.C. The bust was found in Hadrian’s villa and is therefore dated to 117-138 AD. The National Roman Museum, Rome, Italy
  • Roman bust of a female deity, circa 117-138 AD from the Villa Adriana (Hadrian), Tivoli, Italy. The head, made separately for insertion onto a larger than life size body, is that of a female deity; type is known from other copies from a Greek original, probably from Attic circa 470-460 B.C. The bust was found in Hadrian’s villa and is therefore dated to 117-138 AD. The National Roman Museum, Rome, Italy
  • Roman bust of a female deity, circa 117-138 AD from the Villa Adriana (Hadrian), Tivoli, Italy. The head, made separately for insertion onto a larger than life size body, is that of a female deity; type is known from other copies from a Greek original, probably from Attic circa 470-460 B.C. The bust was found in Hadrian’s villa and is therefore dated to 117-138 AD. The National Roman Museum, Rome, Italy
  • Roman Statue of an Amazon on horseback and a Barbarian, Circa mid 2nd cent AD excavated from the  Imperial villa near Faro, Italy. An Amazon perched on a rearing horse clashes with a barbarian who attempts to deal a final blow before dying. The work is based on a Hellenistic original from the Pergamon school from the second half of the 2nd cent. B.C, The group was displayed in the Imperial villa  with another of the same theme now in the Borghese collection. The National Roman Museum, Rome, Italy
  • Roman Statue of an Amazon on horseback and a Barbarian, Circa mid 2nd cent AD excavated from the  Imperial villa near Faro, Italy. An Amazon perched on a rearing horse clashes with a barbarian who attempts to deal a final blow before dying. The work is based on a Hellenistic original from the Pergamon school from the second half of the 2nd cent. B.C, The group was displayed in the Imperial villa  with another of the same theme now in the Borghese collection. The National Roman Museum, Rome, Italy
  • Roman Statue of an Amazon on horseback and a Barbarian, Circa mid 2nd cent AD excavated from the  Imperial villa near Faro, Italy. An Amazon perched on a rearing horse clashes with a barbarian who attempts to deal a final blow before dying. The work is based on a Hellenistic original from the Pergamon school from the second half of the 2nd cent. B.C, The group was displayed in the Imperial villa  with another of the same theme now in the Borghese collection. The National Roman Museum, Rome, Italy
  • Roman Statue of an Amazon on horseback and a Barbarian, Circa mid 2nd cent AD excavated from the  Imperial villa near Faro, Italy. An Amazon perched on a rearing horse clashes with a barbarian who attempts to deal a final blow before dying. The work is based on a Hellenistic original from the Pergamon school from the second half of the 2nd cent. B.C, The group was displayed in the Imperial villa  with another of the same theme now in the Borghese collection. The National Roman Museum, Rome, Italy
  • Roman portrait bust of a flavian women possibly Domita, circa 69-96 AD excavated from Terracina. This portrait can be dated from the typical hairstyle made popular by Flavian women. It may be of Domitia Longina who was  wife to the Roman Emperor Domitian. The National Roman Museum, Rome, Italy
  • Roman portrait bust of a flavian women possibly Domita, circa 69-96 AD excavated from Terracina. This portrait can be dated from the typical hairstyle made popular by Flavian women. It may be of Domitia Longina who was  wife to the Roman Emperor Domitian. The National Roman Museum, Rome, Italy
  • Roman portrait bust of a flavian women possibly Domita, circa 69-96 AD excavated from Terracina. This portrait can be dated from the typical hairstyle made popular by Flavian women. It may be of Domitia Longina who was  wife to the Roman Emperor Domitian. The National Roman Museum, Rome, Italy
  • Roman portrait bust of a flavian women possibly Domita, circa 69-96 AD excavated from Terracina. This portrait can be dated from the typical hairstyle made popular by Flavian women. It may be of Domitia Longina who was  wife to the Roman Emperor Domitian. The National Roman Museum, Rome, Italy
  • Roman portrait bust of a flavian women possibly Domita, circa 69-96 AD excavated from Terracina. This portrait can be dated from the typical hairstyle made popular by Flavian women. It may be of Domitia Longina who was  wife to the Roman Emperor Domitian. The National Roman Museum, Rome, Italy
  • Roman statue in the nude hero style of Emperor Antoninus Pius, 138-161 AD. Titus Fulvius Aelius Hadrianus Antoninus Augustus Pius, also known as Antoninus, was Roman Emperor from 138 to 161. He was a member of the Nerva–Antonine dynasty and the Aurelii.[3]<br />
He acquired the name Pius after his accession to the throne, either because he compelled the Senate to deify his adoptive father Hadrian, or because he had saved senators sentenced to death by Hadrian in his later years. The National Roman Museum, Rome, Italy
  • Roman statue in the nude hero style of Emperor Antoninus Pius, 138-161 AD. Titus Fulvius Aelius Hadrianus Antoninus Augustus Pius, also known as Antoninus, was Roman Emperor from 138 to 161. He was a member of the Nerva–Antonine dynasty and the Aurelii.[3]<br />
He acquired the name Pius after his accession to the throne, either because he compelled the Senate to deify his adoptive father Hadrian, or because he had saved senators sentenced to death by Hadrian in his later years. The National Roman Museum, Rome, Italy
  • Roman statue in the nude hero style of Emperor Antoninus Pius, 138-161 AD. Titus Fulvius Aelius Hadrianus Antoninus Augustus Pius, also known as Antoninus, was Roman Emperor from 138 to 161. He was a member of the Nerva–Antonine dynasty and the Aurelii.[3]<br />
He acquired the name Pius after his accession to the throne, either because he compelled the Senate to deify his adoptive father Hadrian, or because he had saved senators sentenced to death by Hadrian in his later years. The National Roman Museum, Rome, Italy
  • Roman statue in the nude hero style of Emperor Antoninus Pius, 138-161 AD. Titus Fulvius Aelius Hadrianus Antoninus Augustus Pius, also known as Antoninus, was Roman Emperor from 138 to 161. He was a member of the Nerva–Antonine dynasty and the Aurelii.[3]<br />
He acquired the name Pius after his accession to the throne, either because he compelled the Senate to deify his adoptive father Hadrian, or because he had saved senators sentenced to death by Hadrian in his later years. The National Roman Museum, Rome, Italy
  • Roman statue in the nude hero style of Emperor Antoninus Pius, 138-161 AD. Titus Fulvius Aelius Hadrianus Antoninus Augustus Pius, also known as Antoninus, was Roman Emperor from 138 to 161. He was a member of the Nerva–Antonine dynasty and the Aurelii.[3]<br />
He acquired the name Pius after his accession to the throne, either because he compelled the Senate to deify his adoptive father Hadrian, or because he had saved senators sentenced to death by Hadrian in his later years. The National Roman Museum, Rome, Italy
  • Roman portrait bust of Emperor Antoninus Pius, 138-161 AD. Titus Fulvius Aelius Hadrianus Antoninus Augustus Pius, also known as Antoninus, was Roman Emperor from 138 to 161. He was a member of the Nerva–Antonine dynasty and the Aurelii.[3]<br />
He acquired the name Pius after his accession to the throne, either because he compelled the Senate to deify his adoptive father Hadrian, or because he had saved senators sentenced to death by Hadrian in his later years. The National Roman Museum, Rome, Italy
  • Roman portrait bust of Emperor Antoninus Pius, 138-161 AD. Titus Fulvius Aelius Hadrianus Antoninus Augustus Pius, also known as Antoninus, was Roman Emperor from 138 to 161. He was a member of the Nerva–Antonine dynasty and the Aurelii.[3]<br />
He acquired the name Pius after his accession to the throne, either because he compelled the Senate to deify his adoptive father Hadrian, or because he had saved senators sentenced to death by Hadrian in his later years. The National Roman Museum, Rome, Italy
  • Roman portrait bust of Emperor Antoninus Pius, 138-161 AD. Titus Fulvius Aelius Hadrianus Antoninus Augustus Pius, also known as Antoninus, was Roman Emperor from 138 to 161. He was a member of the Nerva–Antonine dynasty and the Aurelii.[3]<br />
He acquired the name Pius after his accession to the throne, either because he compelled the Senate to deify his adoptive father Hadrian, or because he had saved senators sentenced to death by Hadrian in his later years. The National Roman Museum, Rome, Italy
  • Roman portrait bust of Emperor Antoninus Pius, 138-161 AD. Titus Fulvius Aelius Hadrianus Antoninus Augustus Pius, also known as Antoninus, was Roman Emperor from 138 to 161. He was a member of the Nerva–Antonine dynasty and the Aurelii.[3]<br />
He acquired the name Pius after his accession to the throne, either because he compelled the Senate to deify his adoptive father Hadrian, or because he had saved senators sentenced to death by Hadrian in his later years. The National Roman Museum, Rome, Italy
  • Roman portrait bust of Emperor Hadrian, 117-138 AD excavated from the S. Barbiana region near the Station Terminus, Rome. Hadrian ( Publius Aelius Hadrianus Augustus) was Roman Emperor from 117 to 138. An enthusiastic  builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors. The great love of his life was Antinous who died tragically and suspiciously when he drowned in the Nile.  The National Roman Museum, Rome, Italy
  • Roman portrait bust of Emperor Antoninus Pius, 138-161 AD. Titus Fulvius Aelius Hadrianus Antoninus Augustus Pius, also known as Antoninus, was Roman Emperor from 138 to 161. He was a member of the Nerva–Antonine dynasty and the Aurelii.[3]<br />
He acquired the name Pius after his accession to the throne, either because he compelled the Senate to deify his adoptive father Hadrian, or because he had saved senators sentenced to death by Hadrian in his later years. The National Roman Museum, Rome, Italy
  • Roman portrait bust of Emperor Hadrian, 117-138 AD excavated from the S. Barbiana region near the Station Terminus, Rome. Hadrian ( Publius Aelius Hadrianus Augustus) was Roman Emperor from 117 to 138. An enthusiastic  builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors. The great love of his life was Antinous who died tragically and suspiciously when he drowned in the Nile.  The National Roman Museum, Rome, Italy
  • Roman portrait bust of Emperor Hadrian, 117-138 AD excavated from the S. Barbiana region near the Station Terminus, Rome. Hadrian ( Publius Aelius Hadrianus Augustus) was Roman Emperor from 117 to 138. An enthusiastic  builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors. The great love of his life was Antinous who died tragically and suspiciously when he drowned in the Nile.  The National Roman Museum, Rome, Italy
  • Roman portrait bust of Emperor Hadrian, 117-138 AD excavated from the S. Barbiana region near the Station Terminus, Rome. Hadrian ( Publius Aelius Hadrianus Augustus) was Roman Emperor from 117 to 138. An enthusiastic  builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors. The great love of his life was Antinous who died tragically and suspiciously when he drowned in the Nile.  The National Roman Museum, Rome, Italy
  • Roman portrait bust of Emperor Hadrian, 117-138 AD excavated from the S. Barbiana region near the Station Terminus, Rome. Hadrian ( Publius Aelius Hadrianus Augustus) was Roman Emperor from 117 to 138. An enthusiastic  builder Hadrian rebuilt the Pantheon and constructed the Temple of Venus and Roma as well as building Hadrian's Wall, which marked the northern limit of Roman Britain. His villa at Tivoli also showed Hadrian passion for water and Roman baths. Hadrian was regarded by some as a humanist and was philhellene in most of his tastes. He is regarded as one of the Five Good Emperors. The great love of his life was Antinous who died tragically and suspiciously when he drowned in the Nile.  The National Roman Museum, Rome, Italy
  • Roman portrait bust of Sabina, circa 135 AD excavated from the via Appia, Rome. . The National Roman Museum, Rome, Italy
  • Roman portrait bust of Sabina, circa 135 AD excavated from the via Appia, Rome. . The National Roman Museum, Rome, Italy
  • Roman portrait bust of Sabina, circa 135 AD excavated from the via Appia, Rome. . The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young man from 110 AD. In this portrait, the hairstyle and facial features are typical of the Trajan era of portraiture. The hairstyle is characterised by a slight central parting on the forehead . Inv 287, The National Roman Museum, Rome, Italy
  • Roman portrait bust of a young charioteer from the age of Domitian, 81-96AD. This statue of a young charioteer, with Oriental eastern Mediterranean features, is wearing a tunic stopped on the right shoulder by a flattened circular fibula (clasp). The hairstyle, with its ’S’ shaped curls, was made artificially with an iron (calamistrum). This style was inspired by official portrayts of a young Domitian, who emulated Neronian style during the last years of his reign. The bust was rounded to be inserted onto a modern pillar. . Inv 276, The National Roman Museum, Rome, Italy
  • Roman portrait bust from circa 30 BC excavated from the Valle Giardino, Nemi, Rome. The appearance of an adult man with an energetic, dominating expression, is artistically and crisply represented in this portrait. The treatment of the eyebrows and hair suggest that this statue is the copy of a bronze original. The head is a fusion of the realistic style from the period of Caesar and the classic works of the Augustan age . Inv 66177, The National Roman Museum, Rome, Italy
  • Roman portrait bust from circa 30 BC excavated from the Valle Giardino, Nemi, Rome. The appearance of an adult man with an energetic, dominating expression, is artistically and crisply represented in this portrait. The treatment of the eyebrows and hair suggest that this statue is the copy of a bronze original. The head is a fusion of the realistic style from the period of Caesar and the classic works of the Augustan age . Inv 66177, The National Roman Museum, Rome, Italy
  • Roman portrait bust from circa 30 BC excavated from the Valle Giardino, Nemi, Rome. The appearance of an adult man with an energetic, dominating expression, is artistically and crisply represented in this portrait. The treatment of the eyebrows and hair suggest that this statue is the copy of a bronze original. The head is a fusion of the realistic style from the period of Caesar and the classic works of the Augustan age . Inv 66177, The National Roman Museum, Rome, Italy
  • Roman portrait bust from circa 30 BC excavated from the Valle Giardino, Nemi, Rome. The appearance of an adult man with an energetic, dominating expression, is artistically and crisply represented in this portrait. The treatment of the eyebrows and hair suggest that this statue is the copy of a bronze original. The head is a fusion of the realistic style from the period of Caesar and the classic works of the Augustan age . Inv 66177, The National Roman Museum, Rome, Italy
  • Roman bust of Alexander the Great, 2nd cent B.C bronze with gold leaf. The head is from a smaller than life size statue. The elongated curls, the parted locks and the diadem that fastens the hair at the back, are clear indications that the head is a portrait of the Macedonian King Alexander the Great (356-323 B.C.). Inv 66177, The National Roman Museum, Rome, Italy
  • Roman bust of Alexander the Great, 2nd cent B.C bronze with gold leaf. The head is from a smaller than life size statue. The elongated curls, the parted locks and the diadem that fastens the hair at the back, are clear indications that the head is a portrait of the Macedonian King Alexander the Great (356-323 B.C.). Inv 66177, The National Roman Museum, Rome, Italy
  • Roman bust of Alexander the Great, 2nd cent B.C bronze with gold leaf. The head is from a smaller than life size statue. The elongated curls, the parted locks and the diadem that fastens the hair at the back, are clear indications that the head is a portrait of the Macedonian King Alexander the Great (356-323 B.C.). Inv 66177, The National Roman Museum, Rome, Italy
  • Rare original Greek bronze statue of an Athlete after a boxing match, a 1st cent BC. The athlete, seated on a boulder, is resting after a boxing match. The boulder is a modern addition that replicates the ancient original. The face, ears, and nose are severely wounded by blows received during the match. No wounds appear on the body since ancient boxing practices made the afce the main target. The boxer is only wearing a sort of loin cloth (kynodesme) around his waist. Elaborate leather gloves (himantes oxeis) protect the hands and the forearms. They consist of thick leather straps that bind the four fingers, leaving the thumb free. On the forearms the gloves are bordered with fur lining. A series of marks on the straps above the left ring fingers seem to be a signature of the Athenian sculptor Appolonios, son of Nestor who was active during the 1st century B.C. Careful analysis shows that the marks are actually corrosions of the bronze surface. The Greek letter ‘a’ is impressed on the middle toe of the left foot and is probably a mark identifying the workshop that produced the statue. The statue of the boxer is of the highest quality with a highly detailed rendition of the athletic anatomy and facial feature. The artist was clearly inspired by the style of Greek sculptor Lysippus and scholars generally consider it an original Greek bronze of the 1st Century B.C. . The National Roman Museum, Rome, Italy
  • Roman sculpture bust of  Gordian III made between 238 and 244 AD and excavated from Ostia. At the age of 13, he became the youngest sole legal Roman emperor throughout the existence of the united Roman Empire. Gordian was the son of Antonia Gordiana and an unnamed Roman Senator who died before 238. When the Persians under Shapur I invaded Mesopotamia, the young emperor opened the doors of the Temple of Janus for the last time in Roman history, and sent a large army to the East. The Sassanids were driven back over the Euphrates and defeated in the Battle of Resaena (243AD). In the beginning of 244, the Persians counter-attacked. Persian sources claim that a battle was fought (Battle of Misiche) near modern Fallujah (Iraq) and resulted in a major Roman defeat and the death of Gordian III. The National Roman Museum, Rome, Italy
  • Roman sculpture bust of  Gordian III made between 238 and 244 AD and excavated from Ostia. At the age of 13, he became the youngest sole legal Roman emperor throughout the existence of the united Roman Empire. Gordian was the son of Antonia Gordiana and an unnamed Roman Senator who died before 238. When the Persians under Shapur I invaded Mesopotamia, the young emperor opened the doors of the Temple of Janus for the last time in Roman history, and sent a large army to the East. The Sassanids were driven back over the Euphrates and defeated in the Battle of Resaena (243AD). In the beginning of 244, the Persians counter-attacked. Persian sources claim that a battle was fought (Battle of Misiche) near modern Fallujah (Iraq) and resulted in a major Roman defeat and the death of Gordian III. The National Roman Museum, Rome, Italy
  • Roman sculpture bust of  Gordian III made between 238 and 244 AD and excavated from Ostia. At the age of 13, he became the youngest sole legal Roman emperor throughout the existence of the united Roman Empire. Gordian was the son of Antonia Gordiana and an unnamed Roman Senator who died before 238. When the Persians under Shapur I invaded Mesopotamia, the young emperor opened the doors of the Temple of Janus for the last time in Roman history, and sent a large army to the East. The Sassanids were driven back over the Euphrates and defeated in the Battle of Resaena (243AD). In the beginning of 244, the Persians counter-attacked. Persian sources claim that a battle was fought (Battle of Misiche) near modern Fallujah (Iraq) and resulted in a major Roman defeat and the death of Gordian III. The National Roman Museum, Rome, Italy
  • Roman sculpture bust of  Gordian III made between 238 and 244 AD and excavated from Ostia. At the age of 13, he became the youngest sole legal Roman emperor throughout the existence of the united Roman Empire. Gordian was the son of Antonia Gordiana and an unnamed Roman Senator who died before 238. When the Persians under Shapur I invaded Mesopotamia, the young emperor opened the doors of the Temple of Janus for the last time in Roman history, and sent a large army to the East. The Sassanids were driven back over the Euphrates and defeated in the Battle of Resaena (243AD). In the beginning of 244, the Persians counter-attacked. Persian sources claim that a battle was fought (Battle of Misiche) near modern Fallujah (Iraq) and resulted in a major Roman defeat and the death of Gordian III. The National Roman Museum, Rome, Italy
  • Roman sculpture bust of  Gordian III made between 238 and 244 AD and excavated from Ostia. At the age of 13, he became the youngest sole legal Roman emperor throughout the existence of the united Roman Empire. Gordian was the son of Antonia Gordiana and an unnamed Roman Senator who died before 238. When the Persians under Shapur I invaded Mesopotamia, the young emperor opened the doors of the Temple of Janus for the last time in Roman history, and sent a large army to the East. The Sassanids were driven back over the Euphrates and defeated in the Battle of Resaena (243AD). In the beginning of 244, the Persians counter-attacked. Persian sources claim that a battle was fought (Battle of Misiche) near modern Fallujah (Iraq) and resulted in a major Roman defeat and the death of Gordian III. The National Roman Museum, Rome, Italy
  • Roman sculpture bust of  Alexander Severus made between 222 and 235 AD and excavated from Ostia. Roman Emperor from 222 to 235. Alexander was the last emperor of the Severan dynasty. As emperor, Alexander's peace time reign was prosperous. However militarily Rome was confronted with the rising Sassanid Empire. He managed to check the threat of the Sassanids, but when campaigning against Germanic tribes of Germania, Alexander attempted to bring peace by engaging in diplomacy and bribery. This alienated many in the legions and led to a conspiracy to assassinate and replace him. . The National Roman Museum, Rome, Italy
  • Roman sculpture bust of  Alexander Severus made between 222 and 235 AD and excavated from Ostia. Roman Emperor from 222 to 235. Alexander was the last emperor of the Severan dynasty. As emperor, Alexander's peace time reign was prosperous. However militarily Rome was confronted with the rising Sassanid Empire. He managed to check the threat of the Sassanids, but when campaigning against Germanic tribes of Germania, Alexander attempted to bring peace by engaging in diplomacy and bribery. This alienated many in the legions and led to a conspiracy to assassinate and replace him. . The National Roman Museum, Rome, Italy
  • Roman sculpture bust of  Alexander Severus made between 222 and 235 AD and excavated from Ostia. Roman Emperor from 222 to 235. Alexander was the last emperor of the Severan dynasty. As emperor, Alexander's peace time reign was prosperous. However militarily Rome was confronted with the rising Sassanid Empire. He managed to check the threat of the Sassanids, but when campaigning against Germanic tribes of Germania, Alexander attempted to bring peace by engaging in diplomacy and bribery. This alienated many in the legions and led to a conspiracy to assassinate and replace him. . The National Roman Museum, Rome, Italy

FunkyStock Picture Library Resource

Picture The Past

ABOUT

FunkyStock Picture Library free resource for professional editorial picture editors, picture researchers, historical scholars and students and enthusiasts who want to browse some of the best pictures and images of historic countries, historical places, archaeological sites and the very best museum antiquities and artefacts exhibits in Europe and the Middle East.

Pictures and Images can be downloaded or bought as stock photos or photo art prints.

COUNTRIES

Browse travel pictures and images of historic places and archaeological sites of countries in Europe and the Middle East.

VIEW COUNTRIES INDEX....

HISTORICAL

Explore the past through pictures and images of its historic places. See the great palaces, castles and cities of antiquity as well as the great archaeological sites where our ancestors made history.

EXPLORE HISTORICAL PLACES...

MUSEUMS

Browse pictures & images the treasured artefacts and antiquities exhibits from the great Museum of Europe and the Middle East. See the art and objects made by our ancestors.

SEE MUESEUM ANTIQUITIES....