Agrippina the Younger was the first empress of the Roman Empire, but almost no modern sources remember her as such. In fact, she is not often remembered at all. Unlike her predecessor, Augustus’s wife Livia, she has slipped out of history. Where she has left a mark it has been only as Claudius’s last wife and the mother of Nero. But Agrippina was so much more than simply the consort and mother of men. She was a powerful, public woman in her own right, as is abundantly clear in the ancient sources that record her life, who express boundless horror at her refusal to stay in her appropriate feminine place. Agrippina the Younger’s life is characterised by her arrogant refusal to adhere to these accepted standards of femininity and to take for herself the overt power that she thought she deserved.
It appears that I will not be the only one celebrating next year: the Archaeological Museum of Seville in southern Spain is planning to host an exhibition in 2017 to commemorate the 1900th anniversary of the accession of Hadrian to the imperial throne.
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. This story is based on an original story (in Italian) by M. Blasi. A playful inscription from Isernia welcomes you to one of the funniest inns in the whole Roman Empire! Meet the innkeeper, Mr. Erotic (Callidius Eroticus), and his wife Ms. Pleasure (Fannia Voluptas). At the check-out, if you have any question on your itemized bill, don’t forget to ask the landlord!
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).
Roman mosaics decorated luxurious domestic and public buildings across the empire. Intricate patterns and figural compositions were created by setting tesserae — small pieces of stone or glass — into floors and walls. Scenes from mythology, daily life, nature, and spectacles in the arena enlivened interior spaces and reflected the cultural ambitions of wealthy patrons. Introduced by itinerant craftsmen, mosaic techniques and designs spread widely throughout Rome’s provinces, leading to the establishment of local workshops and a variety of regional styles. Drawn primarily from the Getty Museum’s collection, Roman Mosaics across the Empire at the Getty Villa in Los Angeles, California, presents the artistry of mosaics as well as the contexts of their discovery across Rome’s ever growing empire — from its center in Italy to provinces in North Africa, southern France, and ancient Syria. In this exclusive interview, James Blake Wiener of Ancient History Encyclopedia speaks to Dr. Alexis Belis, assistant curator in the Department of Antiquities at the J. Paul Getty Museum, about the various kinds of mosaics found within the former Roman …
In the heart of southern England, the city of Bath emerges from the countryside with picturesque stone buildings and neoclassical Georgian architecture. I recently visited the city’s Roman baths, which were built nearly two millennia ago and continue to impress over a million visitors each year.
Roman glassware includes some of the finest pieces of art ever produced in antiquity and the very best were valued higher than wares made with precious metals. However, plain glass vessels such as cups, bowls, plates, and bottles were also used as everyday containers, in particular, for storing and serving food, drinks, and perfumes. The Romans also used glass for its decorative qualities and could be incorporated in mosaics and decorative panels in both walls and furniture. The material was also used for windows, to create jewellery, mirrors, game pieces, magnifying glasses, sculpture and, in the form of powder, even as a medicine and toothpaste. The sheer quantity of Roman glass would not be matched until the boom in Venetian glass in the 15th century CE. Below are some examples from the collection in the Archaeological Museum of the Museo Civico in Pavia, Italy. All images copyright of Mark Cartwright. These cups, bottles, and perfume containers all date to the 1st and 2nd century CE. Cups
Dr. Matthew Nicholls, University of Reading, sat down with James Lloyd, AHE’s Video Editor, to discuss his Virtual Rome project. I first met Dr. Nicholls attending one of his ‘Digital Silchester’ classes. This module teaches students how to understand the history and archaeology of the Roman town of Silchester through digital reconstruction. Matthew’s digital reconstructions have been featured on BBC and Discovery documentaries and he has co-taught the British School at Rome’s undergraduate summer school.
In late January 2016, Jan (CEO) and James (Communications Director) went to Rome to present at the EAGLE 2016 Conference at La Sapienza University. The conference was about Latin epigraphy and the Europeana project, and our presentations were about how academics, historians, and archaeologists could reach a wider audience. But when in Rome… one has to see the city! We could not help being pulled in by the Eternal City, drawn to wander around and explore its ancient heritage. When it comes to history, Rome is like the mother lode… very few cities in the world (if any) have such a concentration of historical sites and buildings!
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 …