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Poltross Burn Roman Mile Castle, Hadrian’s Wall, Gilsland, 30.3.19.

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prid. id. apr. • I Want To Obtain Frescoes

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Caeretan Hydria 520-510 BCE attributed the the Eagle Painter and the Busiris Painter. Side A:  a human figure fighting a sea monster. Note the seal on the left side of the scene. Marangou 1995. (X)

Read more: 

en.wikipedia.org/wiki/Caeretan_hydria

The charm and background of the Caeretan Hydriae by Prof. J.M. Hemelrijk

The Natural History of a Caeretan Hydria by John Papadopoulos

Monk Seals in Antiquity​

This happened because of @sisterofiris and The Wilušiad. 

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Stater, mid 6th century BC, Cleveland Museum of Art: Greek and Roman Art

Size: Overall: 1.6 x 2 x 0.8 cm (5/8 x 13/16 x 5/16 in.) Medium: gold (electrum)

https://clevelandart.org/art/2000.203

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Chalcedony scaraboid, Metropolitan Museum of Art: Greek and Roman Art

Purchase, Joseph Pulitzer Bequest, 1942 Metropolitan Museum of Art, New York, NY Medium: Chalcedony

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Brief Life Update

I graduated with my Master’s degree

I’ll start work in a new city later this summer

My interests are shifting and I want to see where they take me, so this blog will probably be fairly inactive from this point on

Wishing everyone well, &c, &c

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Pyramid of Unas

“The sword of Orion opens the doors of the sky. Before the doors close again the gate to the path Over the fire, beneath the holy ones as they grow dark As a falcon flies as a falcon flies, may Unis rise into this fire Beneath the holy ones as they grow dark. They make a path for Unis, Unis takes the path, Unis becomes the falcon star, Sirius.”

― Verse from the Pyramid Texts, inscribed on the walls of the antechamber in the Pyramid of Unas

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Egyptian Priest Reading a Papyrus Roll, 1903 (oil on canvas)

Stefan Bakałowicz (Polish, 1857-1947)

State Art Museum, Irkutsk

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M.C. Escher PHOSPHORESCENT SEA (B./K./L./W. 231) 1933 Lithograph 423 x 321 mm Signed,  20/20

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“View of the Propylaea of the Acropolis of Athens” || “Temple of Olympian Zeus, Athens”(1870). Bilder aus Griechenland, Nach der Natur gezeichnet von A. Löffler. By Moritz Busch

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Afternoon Sun,Crimea by Konstantin Westchilov

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At thirty-three, Octavian was the same age as Alexander when he died. A great admirer of the Macedonian, he wanted to see the mummy and honor it; so it was temporarily removed from its coffin and burial chamber and displayed in public.

The young Roman gazed at the body for a time, then paid his respects by crowning the head with a golden diadem and strewing flowers on the trunk. He was asked, “Would you now like to visit the Mausoleum of the Ptolemies?” To which he retorted, “I came to see a king, not a row of corpses.”

The Alexandrians were doubtless impressed by Octavian’s admiring curiosity, but the effect may have been lessened when he accidentally knocked off part of Alexander’s nose.

— Anthony Everitt,  Augustus: The Life of Rome’s First Emperor

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An Audience at Agrippa’s by Sir Lawrence Alma-Tadema 

1875

oil on panel

private collection 

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Relief of Seti I in the temple of Abydos 

photographed by Henri Bechard, c. 1860-1880

albumen print

Rijksmuseum 

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The best-preserved theatre of antiquity, Aspendos Theatre / Turkey (by Onur).

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Ancient Roman fresco in the Second Style, depicting a member of the Scythian tribe of the Arimaspi attempting to steal gold guarded by a griffin, as described in Herodotus.  From room 11 of the Villa dei Misteri, Pompei; now in the National Archaeological Museum, Naples.  Photo credit: Stefano Bolognini/Wikimedia Commons.

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Pendant (gold, silver, bitumen) from Royal Cemetery at Ur, 2500 - 2400[1600x1697]