#2ND-3RD CENTURY A.D.

[blueiscoool]

A FINE LIFE-SIZED EASTERN ROMAN BUST OF A WEALTHY LADY 2ND-3RD CENTURY A.D.

[hildegardavon]

Nymph

Seated Nymph, Roman art, 2nd century AD, Pentelic marble, 101 cm

Gallerie degli Uffizi, Florence Inv. 1914 n.19

The work depicts a Nymph seated on a rock, naked from the waist up and with her crossed legs covered by elegant drapery, who is in the act of bringing her right hand towards her left foot. This gesture, which was previously understood as the act of pulling a thorn out the foot, is now commonly interpreted as the act of adjusting or removing a sandal, although this element/accessory has been lost during restoration works. We have knowledge of less than forty replicas of this type dating between the 1st century B.C. and the 3rd century A.D., which are all derived from a prototype dating back to the period between the 3rd and the end of the 2nd century B.C. In particular, the work on display, due to the workmanship of the drapery, should be dated back to the 2nd century A.D. (Uffizi)

[gardenofafterthoughts]

16/11/24

Marble statue of Aphrodite

Roman, Imperial period, 1st or 2nd century A.D. Copy or adaptation of a Greek statue of the 3rd or 2nd century B.C.

The goddess of love is shown as though surprised at her bath. Originally, her arms reached forward to shield her breasts and pubis in a gesture that both concealed and accentuated her sexuality.

Statues of Aphrodite in the nude proliferated during the Hellenistic period. All were inspired to some degree by the Aphrodite of Knidos, created in the fourth century B.C. by the famous Greek sculptor Praxiteles. That statue, the first major Greek work to show the goddess nude, was celebrated throughout antiquity. This work has the same gesture of modesty and is similar to another Roman copy, the so-called Medici Venus, which has stood in the Tribuna of the Uffizi Gallery in Florence since 1688.

[beebopboom]

Aziraphale’s Flaming Sword

get your mind out of the gutter - seriously it’s gonna get worse

i’m sure someone has already pointed this out and some meta post have been made but I just wanted to infodump about the actual history behind this sword so yeah

His sword is modeled after the Roman Gladius -or is it the other way around ;) - specifically the Pompeii version - so let’s just get into breaking this sword down

The Hilt

This type of sword has a three part hilt consisting of a pommel (which is used to counterweight the blade), a grooved wood grip (so your fingers fit better and thus have a stronger grip), and a guard (protects the hands from slipping onto the blade)

The Blade

For the Pompeii version of this sword it has double-edge sides that are parallel and come to a short, strong point - typically it would be made out of steel

Size

Usually ranged from 18-28 inches as it continually got smaller and smaller over the years

The History

(the most widely excepted one at least)

The Pompeii is actually one of the latest versions of the Roman Gladius so let’s go back to the beginning

The official origins of this sword have been up for debate but as for how it came under Roman influence that is credited to the Punic Wars in 3rd century B.C. (Republican Rome) - specifically to the Iberians who were allies to the Carthaginians and used a short sword that came to be called the “gladius Hispaniensis.” After the wars the Roman army (besides the cavalry) adopted these swords and began to make changes to better suit their needs.

Thus the Mainz-Fulham gladii came to be. It was their first attempts at making this devastatingly destructive sword the perfect sword for their use so they pretty much ended up retaining the shape (wasp-waisted) and only really making it shorter - mainly used to get through chainmail

Then the Pompeii version comes along with new parallel sides and a shorter tip - along with also making the whole sword smaller once again - mainly used to get through plate armor

This sword would then last the Roman legionary and auxiliary infantry until 2nd century A.D. when they are replaced with the spatha

But in the end this sword served the Roman Empire for more than three centuries, in both their Republic and Imperial times - that’s pretty damn impressive

Fighting Tactics

The Romans are pretty iconic for their tight formations and their Scutum shields

They also carried three different types weapons with them - couple of spears/javelins, a short sword, and a dagger. Obviously we are going to focus on the short sword

Soldiers actually wore their swords on their right side instead of their left because they were in such tight formation they didn’t have room to draw it across their body

With the exception for a Roman Centurion - who were commanders of a unit of about 100 soldiers and 60 of these guys(and their men) made up a Legion - as they wore their swords on the left

Now for what made the gladius so useful to the Romans was that it is mainly a thrusting sword - quick and efficient stabbing - which worked best with their formation but because it was also a double-edged sword it was great at cutting too if their formation ever broke

What they would do is while they were in their formations and trying to advance on the battleground they would take their sword and thrust it beside or above the shield - if they hit their target it more than likely resulted in a fatal injury. Though they weren’t above cutting their opponents at the knees - quite literally because if the opportunity arose they would lift their shields above them and slash at their knees.

It was all a very efficient way of fighting that served them well

obviously this is a very condensed version of a lot of history but it is the Human history behind Aziraphale sword

(and yes this is the type of sword the Roman soldiers have on them at Jesus’s crucifixion)

[tylermileslockett]

"Atalanta and the Argonauts" (#5)

When the call went out to Greece’s greatest heroes, for fame and glory, to join Jason and his quest for the Golden fleece, only the bravest answered the call. Heroes like Hercules, Orpheus, Telamon, Peleus, and yes, Atalanta mustered her courage and journeyed to join them.

Appollonius of Rhodes wrote the epic poem “Argonautica” about Jason’s quest for the golden fleece around the 3rd century B.C. based on a much older tale, (referenced in Homer and Pindar). Apparently Appollonius elevated the romantic relationship between Jason and Medea, which in turn inspired latin poetry and Virgil’s Aeneid. In Appollonius tale, Atalanta shows up to join the Argonauts, but Jason turns her away, fearing having such a beautiful woman on board would cause conflict between his men. However, In Appollodorus “Library” (1-2nd century A.D.)  he lists Atalanta as being one of the heroes who accompany Jason for the Golden fleece. Unfortunately, there are no surviving versions where we see the entirety of the journey with Atalanta involved, which begs the question; what would the adventure be like if Atalanta joined?

On the topic of sea quests, lets take a quick look at ancient Greek seafaring. The Argo ship is portrayed as a sort of Trireme (ancient warship with three rows of oars and curved prow). Developments in astronomy helped ancient sea sailors navigate through constellations like Ursa Minor (little dipper) , as well as moon cycles and eclipses. They also used “sounding weights” to measure sea depths, which helped to inform distances to land. There is evidence from around 100 B.C. of an ancient “Orrery” (solar model) tool for celestial navigation called the Antikythera Mechanism. This ingenious, hand-powered device contained gears and could predict and track astronomical positions and eclipses.

Like this art? It will be in my illustrated book with over 130 other full page illustrations coming in Aug/Sept to kickstarter.  to get unseen free hi-hes art subscribe to my email newsletter

Follow my backerkit kickstarter notification page.

Thank you for supporting independent artists! 🤘❤️🏛😁

[yaellaharpe-blog]

Antigua Via Latina / The ancient Via Latina

In the middle of the Roman periphery, between the modern Via Appia and Via Tuscolana, a section of the 3rd mile of the ancient Via Latina is preserved in perfect condition.

It has ancient origins: the natural route, already followed in prehistoric times, was used by the Etruscans to colonise Campania in the 8th-6th centuries BC.

Definitely laid out by the Romans around the IV-III centuries B.C., it connected Rome with Capua, maintaining its importance throughout Antiquity. In fact, even in the Middle Ages, it was preferred as an access road to Naples because of its better preservation compared to the Appian Way and the presence of a number of Christian places of worship along the route..

Entering the Archaeological Park of the Tombs of the Via Latina, it is now possible to walk along a section of the original paving of the street. With a pleasant walk you can admire the rich tombs dating back to the I-II century A.D. that overlooked the route, which still have perfectly preserved polychrome decorations on the façades and inside: vaults covered with painted plaster and stucco, walls frescoed with funerary scenes and rich mosaic floors are still substantially intact in their original context.

From the street it is also possible to reach the Basilica of S. Stefano, a rare example of an early Christian building erected under the pontificate of Leo the Great in the middle of the 5th century.

Santo Stefano en Vía Latina, restos parcialmente reconstruidos, 1911.

Santo Stefano in Via Latina, partially reconstructed remains, 1911.

The Archaeological Park of the Tombs of the Via Latina was created in 1879 following the acquisition by the State of a vast area in which important remains from Roman times had been discovered.

BARBERINI TOMB

The so-called Barberini Sepulchre, or Sepulchre of the Corneli. The funerary monument, dating from the 2nd century AD, consists of two above-ground floors and a hypogeum in an excellent state of preservation. The upper floor is covered by a ribbed vault completely covered with plaster painted with a red background and stucco elements. Groups of figures, winged victories on chariots, love affairs, birds, marine animals, mythological themes and architectural backgrounds can be recognised.

Sepulcro Barberini y su interior / Barberini Tomb and its interior

TOMB OF THE VALERI

The Tomb of the Valeri. The richly decorated underground rooms dating from the mid-2nd century AD are preserved, while the elevation is a hypothetical reconstruction dating from the mid-19th century. An elaborate white stucco covering, articulated in 35 medallions and panels, adorns the lunettes and the barrel vault of the underground room. The medallions depict Dionysian themes, female figures and sea animals, while in the central tondo there is a delicate-veiled figure on the back of a griffin, representing the deceased being carried to the afterlife.

Tumba de los Valeri, exterior e interior / Tomb of the Valeri, exterior and interior

THE TOMB OF THE PANCRATII

The Tomb of the Pancratii. Much of the visible structure is a modern construction that protects the monument below by resting on the original 1st-2nd century AD walls, about a metre high. Upon entering the tomb, one can admire the beautifully decorated underground rooms, with mosaics on the floors and vaults and walls frescoed in bright colours and stucco in an excellent state of preservation. They depict mythological scenes, natural and architectural landscapes, images of women and animals. In the centre of one of the underground chambers is a large sarcophagus for two Greek marble depositions.

Sepulcro de los Pancracios, exterior e interior / Tomb of the Pancracios, exterior and interior

[antonio-m]

“Dionysos (wine-god)”, head wreathed with vines and holding a bunch of grapes. (2nd century A.D. copy of a lost Greek original (3rd century B.C.). The British Museum, London. marble

[metmuseum]

Earring. 2nd–3rd century A.D. Credit line: The Cesnola Collection, Purchased by subscription, 1874–76 https://www.metmuseum.org/art/collection/search/242689

[artifacts-archive]

Mirror with Images of Daoist Deities

China, Eastern Han dynasty (A.D. 25–220), 2nd/3rd century A.D.

Mirrors of the Han dynasty were designed to procure blessings of longevity for the living and to guide the soul of the deceased toward immortal bliss. The images cast on the back of this mirror figured prominently in the quest for immortality that pervaded Han China. Two venerated deities that were later incorporated into the Taoist pantheon—the Queen Mother of the West (Xi Wang Mu) and the King Father of the East (Dong Wang Kong)—are seated opposite the central knob. Each is attended by immortals, identified by their whisks. Horse-drawn chariots may be interpreted as vehicles to escort the soul on its journey between this world and the next.

[blueiscoool]

ROMAN MARBLE HEAD OF A GERMANIC WARRIOR 2ND-3RD CENTURY A.D.

[ancientrome]

Silver handle of a large dish 2nd–early 3rd century A.D. x

The Romans prized silver tableware very highly and liked to collect large sets for show as much as for use. Consequently, many of the vessels were highly decorative; mythological scenes and favorite pastimes such as hunting frequently served as subjects. Here many details of the relief have been highlighted with gilding.

[myfairylily]

Dionysos (wine-god), head wreathed with vines and holding a bunch of grapes. 2nd century A.D. copy of a lost Greek original (3rd century B.C.).

[thinkingimages]

Drawing of parts of the "wooden" doll of Crepereia Tryphaena 2nd/3rd centuries A.D. At first the doll was assumed to be made of wood, but in fact it was carved from ivory, which was stained dark brown over the centuries by the water of the Tiber which had seeped into the sarcophagus.

When the doll was found she still wore one jewel, a ring with a key set on her right hand's thumb. Her ears were pierced, proving that she wore earrings probably the two perforated pearls found in the grave. Also found were two small golden circlets kept together by a golden ring: most likely a light armlet. Small prisms of pierced green paste and little golden spirals were probably all that remained of her rings.

CDHM The Miniature Way iMag, Dollhouse Tourism, October 2010, Issue 9

[tylermileslockett]

"Atalanta and the Argonauts" (#5)

When the call went out to Greece’s greatest heroes, for fame and glory, to join Jason and his quest for the Golden fleece, only the bravest answered the call. Heroes like Hercules, Orpheus, Telamon, Peleus, and yes, Atalanta mustered her courage and journeyed to join them.

Appollonius of Rhodes wrote the epic poem “Argonautica” about Jason’s quest for the golden fleece around the 3rd century B.C. based on a much older tale, (referenced in Homer and Pindar). Apparently Appollonius elevated the romantic relationship between Jason and Medea, which in turn inspired latin poetry and Virgil’s Aeneid. In Appollonius tale, Atalanta shows up to join the Argonauts, but Jason turns her away, fearing having such a beautiful woman on board would cause conflict between his men. However, In Appollodorus “Library” (1-2nd century A.D.)  he lists Atalanta as being one of the heroes who accompany Jason for the Golden fleece. Unfortunately, there are no surviving versions where we see the entirety of the journey with Atalanta involved, which begs the question; what would the adventure be like if Atalanta joined?

On the topic of sea quests, lets take a quick look at ancient Greek seafaring. The Argo ship is portrayed as a sort of Trireme (ancient warship with three rows of oars and curved prow). Developments in astronomy helped ancient sea sailors navigate through constellations like Ursa Minor (little dipper) , as well as moon cycles and eclipses. They also used “sounding weights” to measure sea depths, which helped to inform distances to land. There is evidence from around 100 B.C. of an ancient “Orrery” (solar model) tool for celestial navigation called the Antikythera Mechanism. This ingenious, hand-powered device contained gears and could predict and track astronomical positions and eclipses.

Like this art? It will be in my illustrated book with over 130 other full page illustrations coming in Aug/Sept to kickstarter.  to get unseen free hi-hes art subscribe to my email newsletter

Follow my backerkit kickstarter notification page.

Thank you for supporting independent artists! 🤘❤️🏛😁

[mightyflamethrower]

Greek

Faience polyhedron inscribed with letters of the Greek alphabet. Possible used for fortune telling. Roman, possibly Greece. 2nd to 3rd century A.D.

[chantssecrets]

Lower body of a youth, Roman, Eastern Mediterranean, Imperial Period, 2nd–3rd century A.D.

roman, ii bC