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The Portonaccio sarcophagus is a 2nd-century ancient Roman sarcophagus found in the Portonaccio section of Rome and now held at the Museo Nazionale Romano (Palazzo Massimo). Dating to around 180 AD, the sarcophagus was likely used to bury a Roman general killed in the 172–175 AD German-Sarmatic campaign of Marcus Aurelius during the ...
The Sarcophagus with the Triumph of Dionysus is a good example of a Metropolitan Roman-style sarcophagus with its flat lid, three-sided decoration, and Dionysian scenes from Greek mythology. Sarcophagi production of the ancient Roman Empire involved three main parties: the customer, the sculpting workshop that carved the monument, and the ...
The Portonaccio Sanctuary of Minerva was the first Tuscan–type, i.e., Etruscan, temple erected in Etruria (about 510 BCE). [1] The reconstruction proposed for it in 1993 by Giovanni Colonna together with Germano Foglia, presents a square 60 feet (18 m) construction on a low podium (about 1.8 metres, considering the 29 cm foundation) and divided into a pronaos with two columns making up the ...
Most apparently date to 170–210, made in Rome or in some cases Athen. The Ludovisi Battle sarcophagus of about 250-260 is a late outlier, with the Roman commander presumed to be the deceased. In the similar Portonaccio sarcophagus (c. 170) the face of the Roman general is unfinished; perhaps a portrait was awaited.
Commander with a parazonium (center) during hand-to-hand combat (fragment of the Portonaccio sarcophagus scene) The use of the Roman parazonium tended to be somewhat theatrical in the sense that it was a mark of rank and it was used to rally the troops.
Other important artworks featured in this episode are the Portrait of Artemidorus, the Mildenhall Dish, the Portland Vase and the Lycurgus Cup in the British Museum, the Roman Baths in Bath, the Portonaccio sarcophagus in Rome, the Portrait of the Four Tetrarchs in Venice, the famous mosaics of Mausoleum of Galla Placidia, and the Basilica of ...
The faces are strikingly unclassical, and the technique of deep drilling is particularly obvious in the manes of the horses and the shaggy hair of the barbarians. But the main difference [to the Portonaccio sarcophagus, a similar 2nd-century work] is in the symbolism. The barbarians all seem frozen in the moment before disaster and death ...
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