Hadrian and his travels have often served as the guiding thread for my own travels. However, my recent trip to Turkey had a different focus, the Hittite civilization, with one of the highlights being a visit to the Museum of Anatolian Civilizations in Ankara. After dazzling at the magnificent artifacts on display on the main floor of the museum, I discovered that there was also a section dedicated to the Roman period in Ancyra which featured, to my big surprise, parts of a statue of the Roman Emperor Hadrian.
This month’s sculpture from Hadrian’s Villa is a dark grey limestone relief decorated with mythological scenes. The Lansdowne Relief was unearthed in 1769 during excavations undertaken by the art dealer and archaeologist Gavin Hamilton, who sold it to Lord Lansdowne. The latter was an avid collector of antiquities who owned a fine collection of classical sculptures until most of it was sold and dispersed in 1930 (including the Lansdowne Antinous, the Lansdowne Amazon and the Lansdowne Hercules).
Thanks to our partnership agreement with the EAGLE Portal, Ancient History Encyclopedia (AHE) will be republishing select EAGLE stories, on a periodic basis, which illuminate special topics pertaining everyday life and culture in ancient Rome. We hope that you enjoy these ancient vignettes, and we also encourage you to explore EAGLE’s massive epigraphic database. When we think of ancient inscriptions we instinctively associate them with the idea of a message engraved in stone meant to be delivered to eternity. In theory, it was so also in the mind of the ancient Romans, but, as we know, theory does not always match practice: evidences from the whole of the Roman empire show that inscriptions suffered in antiquity a surprisingly high mortality rate, in some instances even higher than that of the Romans themselves.
This month’s masterpieces from Hadrian’s Villa are the larger than life-size marble theatrical masks that once decorated the scaenae frons (stage-front) of the odeon of the villa.
Enjoying a privileged and bucolic position on the eastern slopes of Mount Olympus, the ancient Greek city of Dion prospered for thousands of years as a sacred center for the cult of Zeus and as the gateway to Macedonia. Gods and Mortals at Olympus: Ancient Dion, City of Zeus, now on show at the Onassis Cultural Center in New York, N.Y., examines the development and trajectory of Dion, from a small rural settlement to a thriving Roman colony, through the presentation of remarkable archaeological artifacts not seen outside of Greece. In this exclusive interview, James Blake Wiener of Ancient History Encyclopedia speaks to Dr. Dimitrios Pandermalis about this exhibition and Dion’s importance in the wider Greco-Roman world.
Apollo was considered an epitome of youth and beauty, source of life and healing, patron of the civilized arts, and as bright and powerful as the sun itself. He was, arguably, the most loved of all the Greek gods. Although he was associated with many positive aspects of the human condition such as music, poetry, and medicine, the god also had his darker side as the bringer of plague and divine retribution. Most famously as the remorseless slayer of Niobe’s six sons as punishment for her boasting and as the flayer of Marsyas after his presumptuous claim to be more musically gifted than Apollo himself. Objects traditionally associated with the god include: a silver bow, a Kithara or a lyre, a laurel branch, the omphalos of Delphi, and a palm tree. These can be variously seen in the many depictions of Apollo from Archaic, Classical and Hellenistic Greece and through to Roman times. Greek Apollo
During a recent trip to Rome, I paid a long overdue visit to the Centrale Montemartini, an annexe of the Capitoline Museums located on the Via Ostiense just beyond Porta San Paolo. Centrale Montemartini was Rome’s first electrical power station when it opened in 1912, and was later converted into a museum of ancient Roman art in the late 1990s. Like the Tate Modern in London, Centrale Montemartini places art in an industrial setting but, unlike the Tate, the imposing machinery has not been moved out. The engines’ grey mass provides a stark contrast to the white marble and offers a unique backdrop for classical art. Centrale Montemartini has a collection of about four hundred sculptures, reliefs and mosaics dating from the Republican to the late Imperial era. The works of art, exhibited in chronological order, are part of an outstanding collection of classical sculptures from the excavations carried out in Rome between the end of the 19th century and the beginning of the 20th. The masterpieces were moved here during the reorganisation of the Capitoline …