1title: 1794 Anville Map of Europe in late Roman times Geographicus - WesternEurope-anville-1794
artist: Jean Baptiste Bourguignon d'Anville
date: dated 1771, published 1794
dimensions: Size unit=in width=19.25 height=20.5
source: D'Anville, J. B. B., <i>Complete Body of Ancient Geography</i>, Laurie and Whittle, London, 1795. Geographicus-source
credit: This file was provided to Wikimedia Commons by Geographicus Rare Antique Maps, a specialist dealer in rare maps and other cartography of the 15th, 16th, 17th, 18th and 19th centuries, as part of a cooperation project.
description: A large and dramatic 1794 J. B. B. D'Anville map of Western Europe. Covers from the British Isles south to Spain and east as far as Hungary, Poland and Dalmatia. This map is intended to represent western Europe following the decline of the Roman Empire but before the onset of the Dark Ages. Details mountains, rivers, cities, roadways, and lakes with political divisions highlighted in outline color. Features both ancient and contemporary place names, ie. Parisii and Paris, for each destination - an invaluable resource or scholars of antiquity. Title area appears in a raised zone above the map proper. Includes five distance scales, center left, referencing various measurement systems common in antiquity. Text in Latin and English. Drawn by J. B. B. D'Anville in 1762 and published in 1794 by Laurie and Whittle, London.
license:Public domain
2title: Byzantine Belt Section with Medallions of Constantius II and Faustina - Walters 57527 - Back
artist:
Anonymous (Byzantine Empire)date: late 4th century (Late Antique)
medium: openwork gold with semiprecious stones
dimensions: Overall size cm height=15.2 width=19.4 ; Constantine Medallion Diam: 3 3/16 x D: 5/16 in. (8.1 x 0.8 cm); Faustina Medallion H: 1 3/8 x D: 1/4 in. (3.5 x 0.7 cm)
current location: Acquired by Henry Walters, 1931
credit: Walters Art Museum:
Home page 
Info about artworklicense:Public domain
3title: Roman Portrait of a Man - Walters 23209
artist:
Anonymous (Roman Empire)date: circa 40 BC (late Republican)
medium: Pentelic marble
dimensions: size cm 30.6 18.1 22.9
current location: Museum purchase, 1949
credit: Walters Art Museum:
Home page Info about artworklicense:Public domain
4title: Christian Krohg Den svenske maler Karl Nordström
artist: Christian Krohg
date: 1882
source: [[Flickr]]: [link Karl Nordström], [link Bosc d'Anjou], 2012-07-29 14:55:25
credit: Flickr: Karl Nordström, Bosc d'Anjou, 2012-07-29 14:55:25
description:
Nothing suggests that they had much in common artistically, but they both found themselves in France in the early 1880s - Nordström studying and Krohg, who had trained in Germany, working. Nominally a portrait of Nordström, the point of the picture seems to be the view from a window of the Chevillon Hotel at <a href="http://www.artistes-grezsurloing.fr/" rel="nofollow">Grez-sur-Loing</a>, a village near Fontainebleau which became immensely popular with Nordic artists in the late 1800s. After a long period of decline, Hotel Chevillon has lately been revived by Swedish interests as an artist colony.license:
CC BY 2.0
5title: Terracotta "basket vase" MET DP258797
artist: unknown
date: circa 1400 –1300 B.C.
medium: Terracotta
dimensions: total H. 10 5/8 in. (27 cm)
current location: Institution:Metropolitan Museum of Art
source: link Template:TheMet
credit: This file was donated to Wikimedia Commons as part of a project by the Metropolitan Museum of Art. See the Image and Data Resources Open Access Policy
description:
Helladic, Mycenaean; Vase in the form of a basket, with lid; Vases; The conceit of having the lid of a vase attached to the body so that the two parts remain together recurs in antiquity. Compare the Archaic vase (14.30.22) from Sardis (Lydia) on the east side of the gallery.license:
CC0
6title: Sudan, Napatan; lion's head component, Egypt, probably New Kingdom, Late Pe Pendant - 1987.1 - Cleveland Museum of Art
artist: unknown
date: c. 700 BC
medium: Amethyst and gold
dimensions: Overall: 3.5 x 2.9 x 2.7 cm (1 3/8 x 1 1/8 x 1 1/16 in.)
current location: institution:Cleveland Museum of Art
source: link
credit: link
description:
This pendant consists of two parts: a superbly carved lion's head in amethyst that has been set into a D-shaped gold base consisting of a platform surrounded by eight seated baboons. The lion's head is an heirloom from the New Kingdom, most likely a gaming piece that had been adapted in the Napatan period to serve as an pendant amulet. This procedure was fairly common in antiquity as a means of recycling precious stones. The importance of leonine deities in Nubian religion was obviously the motivating force behind the creation of this spectacular ornament.license:
CC0
7title: Greece, Greco Roman Period, late Ptolemaic Dynasty - Statuette of a Beggar - 1963.507 - Cleveland Museum of Art
artist: unknown
date: 100 BC
medium: Bronze, solid cast, with silver and copper inlays
dimensions: Overall: 18.4 x 5.3 x 7.2 cm (7 1/4 x 2 1/16 x 2 13/16 in.)
current location: institution:Cleveland Museum of Art
source: link
credit: link
description:
This bronze reflects an exotic, urban setting, such as Alexandria, one of the most cosmopolitan of all classical cities and rich in cultural. It was the home of a great library and famous philosophers. Greeks, Jews, Egyptians, Africans, and Romans lived, studied, and traded there. The little goatee and curly sideburns mark this figure as a mature man rather than the child he at first seems to be. The black patina was purposely induced in antiquity by exposing the bronze to sulphide fumes. The color of the patina was heightened by inlays in contrasting silver and copper for the eyes and lips. Deformities—in this case, scoliosis of the spine—fascinated some Greek artists.license:
CC0
8title: Greece, Peloponnesus, late archaic early classical period - Statuette of an Athlete - 2000.6 - Cleveland Museum of Art
artist: unknown
date: 510-500 BC
medium: Bronze (solid cast)
dimensions: Overall: 21.5 cm (8 7/16 in.)
current location: institution:Cleveland Museum of Art
source: link
credit: link
description:
This bronze statuette brilliantly and uniquely represents a fleeting transitional moment in the history of Greek sculpture. Between 510 and 500 BC, Greek sculptors moved away from the surface patterning of the Archaic period toward a revolutionary breakthrough in the natural representation of the human form. This change would determine the essence of the early classical figural style known as the "Severe Style." With its striding pose and raised arm, the statuette demonstrates, more clearly than any surviving Greek sculpture in the round, this new understanding of the way the human body moves. The figure's nudity, impressive physique, short hairstyle, and distinctive pose all indicate that an athlete (most likely a javelin thrower) is represented. Today's enthusiasm for and celebration of both sports and athletes come directly from the ancient Greek idea of the victorious athlete as the embodiment of arete (excellence). The heavy, sharply defined musculature suggests a master sculptor from the Peloponnesus--the peninsula forming the southern part of Greece. Although damaged in antiquity, the figure's power and confidence remain compelling.license:
CC0
9title: Late Roman, Asia Minor, early Christian period, 3rd century Portrait Bust of an Aristocratic Woman - 1965.246 - Cleveland Museum of Art
artist: unknown
date: between 280 and 290
medium: Marble
dimensions: Overall: 33.2 x 20 x 14 cm (13 1/16 x 7 7/8 x 5 1/2 in.)
current location: institution:Cleveland Museum of Art
source: link
credit: link
description:
These busts are thought to have been unearthed with the Good Shepherd and Jonah sculptures. The nearly identical facial characteristics of each sitter—three males and three females—suggest that the same man and woman was represented three times. Although the intended function of the busts remains unknown, they probably represent a husband and wife. The portraits have been dated stylistically, as well as by costume and hairstyle, to the AD 270s. One of the men wears a paludamentum, or fringed cloak. One of the women wears a decorative stole, an attribute of rank probably conferred on her by her husband. The most distinctive feature of the female portraits is the hairstyle, a variation of the scheitzelkopf, in which the hair, after being combed behind the ears down to the nape of the neck, is braided, pulled up over the top of the head and folded under at the front. Careful study of the evolution of women's coiffures supports a date of AD 270 to 280 for the portraits, about the same as the symbolic sculptures of Jonah and the Good Shepherd. The rarity of intentionally paired portrait busts in late antiquity, especially those in a series, raises questions as to their original function. The busts may have been commemorative and intended for distribution as diplomatic gifts. It is likely that they were commissioned by a single, important patron or family to enhance their social or political status.license:
CC0
title: Late Roman, Asia Minor, early Christian period, 3rd century Portrait Bust of an Aristocratic Man - 1965.247 - Cleveland Museum of Art
artist: unknown
date: between 280 and 290
medium: Marble
dimensions: Overall: 33.5 x 20.1 x 10 cm (13 3/16 x 7 15/16 x 3 15/16 in.)
current location: institution:Cleveland Museum of Art
source: link
credit: link
description:
These busts are thought to have been unearthed with the Good Shepherd and Jonah sculptures. The nearly identical facial characteristics of each sitter-three males and three females-suggest that the same man and woman was represented three times. Although the intended function of the busts remains unknown, they probably represent a husband and wife. The portraits have been dated stylistically, as well as by costume and hairstyle, to the 270s ad. One of the men wears a paludamentum, or fringed cloak. One of the women wears a decorative stole, an attribute of rank probably conferred on her by her husband. The most distinctive feature of the female portraits is the hairstyle, a variation of the scheitzelkopf, in which the hair, after being combed behind the ears down to the nape of the neck, is braided, pulled up over the top of the head and folded under at the front. Careful study of the evolution of women's coiffures supports a date of 270 to 280 ad for the portraits, about the same as the symbolic sculptures of Jonah and the Good Shepherd. The rarity of intentionally paired portrait busts in late antiquity, especially those in a series, raises questions as to their original function. The busts may have been commemorative and intended for distribution as diplomatic gifts. It is likely that they were commissioned by a single, important patron or family to enhance their social or political status.license:
CC0
