Conventional wisdom regards nudity in Greek art as a “heroizing” element. But the reality is, of course, a bit more complex.
The Trojan hero Aeneas, made famous by Virgil’s epic poem, has been the subject of ancient texts and art going as far back as Homer.
The sculptor Pheidias, responsible for the reliefs of the Parthenon in Athens, may have been inspired by the Siphnian Treasury in Delphi.
The tomb of the Roman poet Virgil (70–19 BC) is located in Naples. Today, the tomb forms the centre of a park created in Virgil’s honour.
The Roman statue known as the “Augustus of Prima Porta” is a remarkably powerful piece of Early Imperial “propaganda”.
Modern museums more and more emphasize the fact that the statues of the ancient world were originally painted in vivid colours.
Located in the Forum Romanum, the triumphal arch of Emperor Constantine is, like the ruler himself, a mixture of the old and the new.
Most of the Late Geometric Greek vases in the popular consciousness are precise and finely decorated. But sometimes, even Greek vase painters made mistakes.
With the death of Commodus in AD 192, a new family, the Severans, came to rule the Roman Empire. One of them was Caracalla. Looking at his portraits, one has to ask: why the angry face?
In the 1930s, archaeologists made a remarkable discovery at Pompeii: an ivory figurine that was originally created in faraway India.