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Antiquitates rerum humanarum et divinarum (Antiquities of Human and Divine Things) [1] was one of the chief works of Marcus Terentius Varro (1st century BC). The work has been lost, but having been substantially quoted by Augustine in his De Civitate Dei (published AD 426) its contents can be reconstructed in parts.
Pilate Stone (c. 36 AD) – carved inscription attributed to Pontius Pilate, a prefect of the Roman-controlled province of Judaea from 26 to 36 AD. Delphi Inscription (c. 52 AD) – The reference to proconsul Gallio in the inscription provides an important marker for developing a chronology of the life of Apostle Paul by relating it to the ...
Pages in category "Greek, Etruscan and Roman antiquities in the Louvre" The following 11 pages are in this category, out of 11 total. This list may not reflect recent changes .
Pages in category "Ancient Greek and Roman sculptures in the Louvre" The following 26 pages are in this category, out of 26 total. This list may not reflect recent changes .
Violatio sepulchri ('tomb violation') was a crime under Roman law, as noted by Cicero (d. 43 BC). The Nazareth Inscription prescribes the death penalty for the offense. [ 13 ] A tomb at which funeral rites had been duly performed became a locus religiosus , belonging to the divine rather than to the human realm.
The "Borghese Hermaphrodite" was later sold to the occupying French and was moved to The Louvre, where it is on display. The Sleeping Hermaphrodite has been described as a good early Imperial Roman copy of a bronze original by the later of the two Hellenistic sculptors named Polycles (working c. 155 BC); [ 1 ] the original bronze was mentioned ...
In 1815, after the defeat of Napoleon, the statue of the Nile was returned to the Vatican. However, the statue of the Tiber was offered by the pope Pius VII to the French king Louis XVIII and remained in the Louvre. The image of the statue of the Tiber was widely circulated and it became the subject of numerous marble or bronze replicas.
The principal sources for the story behind David's Oath are the first book of Livy (sections 24–26) which was elaborated by Dionysius in book 3 of his Roman Antiquities. [4] However, the moment depicted in David's painting is his own invention. [5] [6] It grew to be considered a paragon of neoclassical art. The painting increased David's fame ...