• Roman Erotic  fresco with pigmies from Csa Detto del Medico Peristyle in Pompeii. 50-97 AD, Naples Archaological Museum inv no: 113196
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Mythical Erotic  fresco from a house in Pompeii. Naples Archaological Museum inv no: 110590
  • Workshop Banner showing Mercury with a massive phalus. Erotic Fresco from Pompeii, Naples Archaeological Museum 1st cent AD
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  Mythical fresco  from a house in Pompeii. Naples Archaological Museum  inv no: 27697
  • Satyr surprising a maiden, a Roman erotic fresco painting from Pompeii, 50-79 AD , inv no 27693 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Satyr caressing Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the tablium of the Casa di Epidio Sabino, inv no 27875 ,Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • 1 cent AD Roman Erotic  Mythical fresco from a house in Pompeii. Naples Archaological Museum inv no: 110590
  • 1 cent AD Roman Erotic  Mythical fresco  from a house in Pompeii. Naples Archaological Museum  inv no: 27697
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • Roman fresco wall painting of Ariadne fast asleep on a bed of seaweed does not realise that Theseus is about to abandon her and sailaway on a ship to Athens, Pompeii House of colored Capitals, VII,31-51, inv 9052 , Naples National Archaeological Museum
  • A satyr caressing a maiden a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet, Naples Archaeological Museum
  • A satyr caressing a maiden a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet, Naples Archaeological Museum
  • A satyr caressing a maiden a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa di L Cecilio Giocondo, inv no 110590 , Secret Museum or Secret Cabinet, Naples Archaeological Museum
  • Roman Erotic Fresco from Pompeii, 1st cent AD , workshop Banner showing Mercury with a massive phalus , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Satyr being rejected by Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , inv no 110878 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Satyr caressing Hermaphrodite, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the tablium of the Casa di Epidio Sabino, inv no 27875 ,Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Roman erotic fresco painting of Hermaphrodite from Heraculeum, 1-50 AD , inv no 9224 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Polyphemus caressing Galatea, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the Casa dei Capitelli colorati, inv no 27687 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Mars caressing Venus  a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa del Meleagro, inv no 9250 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • A Roman erotic fresco painting from Pompeii form a private house venereum, a room for sexual activities, 50-79 AD , , inv no 27696 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Mars caressing Venus  a Roman erotic fresco painting from Pompeii 1st cent AD , from the Casa del Meleagro, inv no 9250 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • Polyphemus caressing Galatea, a Roman erotic fresco painting from Pompeii, 50-79 AD , from the Casa dei Capitelli colorati, inv no 27687 , Secret Museum or Secret Cabinet, Naples National Archaeological Museum
  • 1 cent AD Roman Erotic  fresco depicting Mars and Venus  Pompeii (VI, 9, 2,) Casa die Meleagro, inv 9250, 1st century AD, Naples Archaological Museum , Italy
  • 1 cent AD Roman Erotic  fresco depicting Mars and Venus  Pompeii (VI, 9, 2,) Casa die Meleagro, inv 9250, 1st century AD, Naples Archaological Museum , Italy
  • 1 cent AD Roman Erotic fresco depicting Pan and Hermaphrodite, Pompeii (VI, 9, 6,) Casa die Dioscuri, inv 27700, 1-50 AD, Naples Archaological Museum, Italy
  • 1 cent AD Roman Erotic  fresco from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic Mosaic from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  fresco depicting Mars and Venus  Pompeii (VI, 9, 2,) Casa die Meleagro, inv 9250, 1st century AD, Naples Archaological Museum , Italy
  • 1 cent AD Roman Erotic fresco depicting Pan and Hermaphrodite, Pompeii (VI, 9, 6,) Casa die Dioscuri, inv 27700, 1-50 AD, Naples Archaological Museum, Italy
  • 1 cent AD Roman Erotic Mosaic from a house in Pompeii. Naples Archaological Museum
  • 1 cent AD Roman Erotic  fresco of a man & woman having sex  from a house in Pompeii. Naples Archaological Museum inv no: 27686
  • 1 cent AD Roman Erotic fresco depicting Pan and Hermaphrodite, Pompeii (VI, 9, 6,) Casa die Dioscuri, inv 27700, 1-50 AD, Naples Archaological Museum, Italy
  • The Thermopolium of Lucius Vetutius Placidus on the Via del Abbondante, with the serving counter with holes that contained amphora of food for sale. The Thermopolium was an eating & drinking house. The painting depicts at the centre the God of the patron and on either side are the lars or protectors of the house, Mercury , God of Commerce & Dionysus, God of wine.
  • Roman Frescos of Pompei arhaeological site.
  • Roman Frescos of Pompei arhaeological site.
  • Roman Frescos of Pompei arhaeological site.
  • The Thermopolium of Lucius Vetutius Placidus on the Via del Abbondante, with the serving counter with holes that contained amphora of food for sale. The Thermopolium was an eating & drinking house. The painting depicts at the centre the God of the patron and on either side are the lars or protectors of the house, Mercury , God of Commerce & Dionysus, God of wine.
  • The Thermopolium of Lucius Vetutius Placidus on the Via del Abbondante, with the serving counter with holes that contained amphora of food for sale. The Thermopolium was an eating & drinking house. The painting depicts at the centre the God of the patron and on either side are the lars or protectors of the house, Mercury , God of Commerce & Dionysus, God of wine.
  • Roman Temple of Apollo  Pompeii archaeological site, Italy
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Stone dying baths of the Fullery of Stephanus on the Via del Abbondante, Pompeii. Fulleries were an important business in ancient Pompeii.  Fullers processed, dyed, and washed cloth. 
  • Fullery of Stephanus on the Via del Abbondante, Pompeii. Fulleries were an important business in ancient Pompeii.  Fullers processed, dyed, and washed cloth. 
  • Well in the street of Pompeii archaeological site.
  • Street of Pompeii archaeological site.
  • Street of Pompeii archaeological site.
  • Cobbled street of Pompeii archaeological site.
  • The Arch of Tiberius at the entrance to the Forum of Pompeii.
  • The Arch of Tiberius at the entrance to the Forum of Pompeii.
  • Cobbled street of Pompeii archaeological site.
  • The Arch of Tiberius at the entrance to the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Corinthian Porticus, columns & tables of the money changers at the entrance of the Macellum in the Forum of Pompeii archaeological site, Italy.
  • The Roman Corinthian Porticus, columns & tables of the money changers at the entrance of the Macellum in the Forum of Pompeii archaeological site, Italy.
  • The Roman Great Theatre of Pompeii. Seating up to 5000 spectators the theatre was originally built in Hellanistic time (200-150 B.C)
  • The columns of the 2nd cent. B.C Roman Basilica of Pompeii which was the Roman courts of justice and the core of economic life in Pompeii.
  • The columns of the 2nd cent. B.C Roman Basilica of Pompeii which was the Roman courts of justice and the core of economic life in Pompeii.
  • The columns of the 2nd cent. B.C Roman Basilica of Pompeii which was the Roman courts of justice and the core of economic life in Pompeii.
  • Graffitti on buildings along the Via del Abbondante, Pompeii.
  • The columns of the 2nd cent. B.C Roman Basilica of Pompeii which was the Roman courts of justice and the core of economic life in Pompeii.
  • The Roman tombs & mausoleums on the street of Tombs in the Herculaneum cemetry, Pompeii
  • Roman road of Via Consolare , Pompeii, with a well and a surgeons house.
  • Peristyle of `Roman Villa of Pompeii
  • Peristyle of `Roman Villa of Pompeii
  • Graffitti on buildings along the Via del Abbondante, Pompeii.
  • Cobbled street of Pompeii archaeological site.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • The Roman Great Theatre of Pompeii. Seating up to 5000 spectators the theatre was originally built in Hellanistic time (200-150 B.C)
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Roman Temple of Apollo  Pompeii archaeological site, Italy
  • Cobbled street of Pompeii archaeological site.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • Doric & Corinthian columns of the Roman colonade in the Forum of Pompeii.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Columns of The Building of Eumachia, Pompeii. The inscription on lintel above the columns is to Concordia Augusta, wife of Emperor Augustus, from the priestess Eumachia the patron of the "fullones", an artisan association of dyers. The building was a prototype of medieval hostels were travelling merchant rented accommodation.
  • The Roman Corinthian Porticus, columns & tables of the money changers at the entrance of the Macellum in the Forum of Pompeii archaeological site, Italy.
  • The Roman Corinthian Porticus, columns & tables of the money changers at the entrance of the Macellum in the Forum of Pompeii archaeological site, Italy.
  • The Roman Corinthian Porticus, columns & tables of the money changers at the entrance of the Macellum in the Forum of Pompeii archaeological site, Italy.
  • The Roman Great Theatre of Pompeii. Seating up to 5000 spectators the theatre was originally built in Hellanistic time (200-150 B.C)
  • The columns of the 2nd cent. B.C Roman Basilica of Pompeii which was the Roman courts of justice and the core of economic life in Pompeii.
  • The Roman tombs & mausoleums on the street of Tombs in the Herculaneum cemetry, Pompeii
  • Graffitti on buildings along the Via del Abbondante, Pompeii.
  • 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 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 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 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 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 depiction the Muses, circa 280 - 290 AD from the Villa Celimontana. 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 relief sculpture on a sarcophagus side depiction the Muses, circa 280 - 290 AD from the Villa Celimontana. 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 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 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 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
  • 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 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 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 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 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 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 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 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 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 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 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

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