The Piraeus Athena

 The Piraeus Athena is a bronze statue of the Greek goddess Athena, known for her wisdom, warfare, and protection of cities. She is shown wearing a Doric peplos, a simple but strong dress style common in ancient Greece. The dress has a large fold at the top that falls over her back, and across her chest is the aegis, a special cloth linked to Zeus and Athena, decorated with many tiny snakes to show its power. On her head sits a Corinthian helmet, detailed with two small owls—Athena’s sacred animal, symbolizing wisdom.

The statue once held a spear in one hand and a libation bowl in the other, used for pouring offerings to the gods. Even though these pieces are now missing, the rest of the statue still shows great skill in bronze work.

Scholars think it may have been made by the sculptor Kephisodotos or Euphranor, and it likely dates to the late 4th century BC. Some experts believe it could also be a later piece made in the Hellenistic period, designed to look like earlier classical art.

The statue was found in 1959 in Piraeus, the ancient harbor of Athens. It was discovered in a storeroom along with other bronze statues. These had been hidden there for protection during the Roman siege of Piraeus by Sulla in 86 BC. Thanks to this, the statue survived for centuries and gives us a rare and beautiful example of large-scale bronze sculpture from the ancient world.

Viral Immerse ·

Recreations of the Emperor Maxentius in the early 300 AD

 

Of the most requested and perfectly executed recreations of the Emperor Maxentius in the early 300 ADs

Marco Aurelio Valerio Massenzio (real name Marco Cecini) as the Emperor Maxentius. As I've stated on numerous occasions my speciality with military reenactment is definitely the 1st Century BC to 3rd Century AD. As you can see when compared to a Julio-Claudian or Flavian Emperor this level of attention they paid to Imperial Power Aesthetics is just extraordinary.

Image three is a faithful recreation of a 1st Century AD Roman Legatus (General/ Tribune/Consul) He wears a slightly different shade of the highly controlled Imperial Purple, being a definite darker shade, and no no gold stitching or geometric embroidery work.

The helmet is of an iteration called "Attic-Type" as all Praetorians from a regular through to an officer are all seen on monuments wearing the same shape of helmet, just with a molded crest or feathered crest (as seen)

The command sash is slightly different in purple hue and immediately obvious to any looker that this was an extremely powerful man bestowed with Imperium Potestas (power of capital punishment)

Here he is pictured in four separate panoplies. That Berkasovo-Type officer's Ridge Helmet (photo 1) stunningly gilded and bespoke with gems and/or glass beads, with full Peacock crest is something to behold. Then in photo four he wears the incredible Heddernheim Helmet. Whenever I've referred to Imperial/Tyrian Purple and how it was illegal to use it on a full cloak, you can see why images one and three)

This is definitely the finest 4th Century Imperial work I have ever seen assembled.

Photo: Rachele Lori Marco Aurelio Valerio Massenzio

Dan's Roman History

Roman art, Agathodaimon (1st century AD

 Roman art, Agathodaimon (1st century AD; fresco; Pompeii, Archaeological Park, Casa del Criptoportico)

Agathodaimon , or " Agatodemon" in Italian, was according to Greek mythology a good demon (this literally means his name in Greek), and was considered a genius who protected wheat and crops. He could take on different appearances: in many cases he was depicted as a snake with a crowned head, which sometimes bore a lotus flower in its tail. In the case of the fresco decorating the House of the Cryptoporticus in Pompeii, the Agatodemon is simply a snake crawling across a meadow and addressing the god Mercury. The god holds the caduceus in his hand, the stick adorned with two snakes, a symbol of wisdom (still today the caduceus is a symbol of pharmacists as it is associated with healing, not to be confused with the staff of Asclepius which is instead associated with medicine). Complete thesymbolism the peacock, symbol of longevity and rebirth. The House of the Cryptoporticus of Pompeii takes its name from the covered corridor ("cryptoporticus", in fact) which is in turn decorated with fantastic creatures: satyrs, in this case.

Ancient Greek and Roman art

The James Webb Space Telescope has just released its deepest view of a single target

 

The James Webb Space Telescope has just released its deepest view of a single target — and it’s a breathtaking window into the early universe.

This remarkable image, captured over 120 hours, centers on a massive galaxy cluster named Abell S1063, located 4.5 billion light-years away. But it’s what lies behind this cluster that truly captivates astronomers.

Thanks to a phenomenon called gravitational lensing, the immense gravity of Abell S1063 bends and magnifies the light from even more distant galaxies — warping them into the faint arcs seen surrounding the cluster. These background galaxies date back to the “Cosmic Dawn,” when the universe was only a few hundred million years old.

By analyzing this image across nine different near-infrared wavelengths, scientists hope to uncover how the very first galaxies formed and evolved. This observation not only showcases Webb’s unmatched sensitivity and resolution, but also helps us peer back to a time when the first stars lit up the cosmos.

Webb’s discoveries are already rewriting textbooks. Early results suggest that galaxies in the infant universe were far larger and more mature than expected, hinting at possible cracks in our current understanding of cosmology.

This is not just a picture — it’s a time machine.

The Secrets Of The Universe 

These portrait busts of the Greek doctor Claudius Agathemerus and his wife Myrtale

 

These portrait busts of the Greek doctor Claudius Agathemerus and his wife Myrtale are part of an impressive tombstone from Rome. The hairstyles of the couple indicate that the monument dates from around 90–110 CE.

Myrtale is positioned slightly in front of her husband, a symbol of authority suggesting that she may have commissioned and paid for the monument, after Claudius’ death.

The doctor and his wife were Greek, but died in Rome – showing the Empire’s social mobility. Claudius is perhaps the famous doctor from Sparta who came to Rome, mentioned by the writer Suetonius.

Beneath the couple is an inscription in Greek, which states that the doctor was a ‘swift healer of disease’ and that the couple are now together with the blessed deceased in Elysium, a conception of the afterlife that was maintained by some ancient Greeks. In Homer’s writings, the Elysian Fields was a land of perfect happiness at the end of the Earth.

Tombstone Of Claudius Agathemerus and Myrtale, Rome, 90–110 CE. Marble, 83 x 89 x 23.5 cm. ANMichaelis.155

Ashmolean Museum 

Panel of an ivory diptych, dated to the year 402

 

Panel of an ivory diptych, dated to the year 402 (late roman), that bears the Symmachus family monogram and depicts the apotheosis of a mortal (probably Q. Aurelius Symmachus himself).

He appears below in an elephant-drawn litter beside a funeral pyre topped by an image of the Sun god in a chariot, while two eagles ascend heavenward. Above, the man reappears, led into heaven by two genii; five persons, perhaps his ancestors, await him there. The Sun god observes the scene from near a portion of the zodiac (six signs can be seen).

the panel is carved with the apotheosis of a pagan figure in three scenes: at bottom: four elephants draw a carriage carrying a dignitary, who sits beneath an aedicula with a gabled roof.

He wears a toga and carries a staff and laurel branch. Beyond the carriage, a funeral pyre surmounted by a quadriga bearing a god. From this pyre fly two eagles. Above, a man borne by personifications of two winds into heaven, where he is welcomed by five male figures. He passes an arc with six zodiacal signs, and is watched by the sun god Helios. At the top of the panel, an openwork scroll with monogram.

Elephant ivory. Height: 301 millimetres.

Property of the British Museum.

Ancient Greek and Roman art

The Lady of Elche

 The Lady of Elche, a remarkable artifact from the 4th century BC, represents a significant piece of Iberian civilization.

Discovered in 1897 at La Alcudia in Spain, this limestone bust exemplifies a distinctive fusion of Iberian and Hellenistic artistic influences.

The striking rodetes, or wheel-like ornaments, suggest the figure held considerable social or religious importance, potentially in relation to Tanit, a goddess honored by the Punic-Iberians.

Originally adorned with paint, the colors that have since faded offer a glimpse into a grandeur that has diminished over time.

Currently housed at the National Archaeological Museum of Spain, this exquisite sculpture serves as a powerful emblem of an ancient and intriguing culture.

Ancient History

https://nam25k.icestech.info/category/archaeology-us/

Teotihuacan, Mexico – 1st-7th Century CE

 Teotihuacan, Mexico – 1st-7th Century CE

In the heart of the Mexican jungle, this imposing structure was discovered in the early 20th century, marking the site of Teotihuacan, an ancient Mesoamerican city once considered one of the most influential civilizations of its time. The towering sculpture, believed to represent a god or ruler, stands as a testament to the advanced engineering and artistry of the civilization that built it.

This photograph, taken during the excavation process, showcases the scale of the monument as workers and archaeologists examine its intricate carvings. The discovery of Teotihuacan in the 1900s unlocked a world of ancient knowledge, revealing detailed murals, towering pyramids, and a rich history. The site remains one of the most iconic archaeological discoveries, offering profound insights into the ancient Mesoamerican world and its remarkable legacy.

Ancient Wonders of Archaeology, Art History & Architecture  ·

The word “perfume” comes from the Latin per fumum

In Roman society, how someone smelled was a big part of their identity. The word “perfume” comes from the Latin per fumum, meaning “through smoke,” because Romans often scented their homes and clothes by burning fragrant resins and woods.

Archaeologists have found frescoes and mosaics in ancient Roman cities like Pompeii and Herculaneum showing people using perfumes and beauty treatments. These artworks give us a glimpse into how important fragrances were in daily life.

Roman writers like Martial even warned about using too much perfume, saying “Non bene olet qui bene semper olet” — “He who always smells good does not smell well,” reminding people that moderation was key.

In the 1st century AD, a freedman named Cosmo became a pioneer in making and selling perfumes. He opened special shops called tabernae unguentariae in a famous perfume district known as Vicus Unguentarius.

Roman perfumes were made from exotic ingredients like rose petals, saffron, honey, ginger, and aromatic roots. Ancient scholars Pliny the Elder and Dioscorides recorded recipes that sometimes required thousands of rose petals to create a single fragrance.

Perfumes also had religious and therapeutic uses, playing an important role in rituals and everyday life.

Today, many Roman artifacts related to perfume can be seen in museums like the Palazzo Massimo alle Terme in Rome, helping us understand the rich history behind these ancient scents.

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Sources:

Natural History by Pliny the Elder

Archaeology & Civilizations  ·