LaurieAnnie's photos

Portrait of a Man Roman, middle of the 3rd century AD Yellowish marble, possibly from Asia Minor # Y1970-1 The man's surly gaze, high cheek bones, heavy-lidded eyes, aquiline nose, and short hair and beard recall portraits of the emperor Philip the Arab, who reigned from AD 244-249. The hair and beard were carved in shallow relief and then textured with swift strokes of the chisel. The roughly carved support on the back of the neck is a feature often found on Roman portraits from Turkey. Philip the Arab was a successful general, and this private portrait may be of a soldier. Text from the Princeton University Art Museum label.

Portrait of a Man Roman, middle of the 3rd century AD Yellowish marble, possibly from Asia Minor # Y1970-1 The man's surly gaze, high cheek bones, heavy-lidded eyes, aquiline nose, and short hair and beard recall portraits of the emperor Philip the Arab, who reigned from AD 244-249. The hair and beard were carved in shallow relief and then textured with swift strokes of the chisel. The roughly carved support on the back of the neck is a feature often found on Roman portraits from Turkey. Philip the Arab was a successful general, and this private portrait may be of a soldier. Text from the Princeton University Art Museum label.

Portrait of a Man Roman, middle of the 3rd century AD Yellowish marble, possibly from Asia Minor # Y1970-1 The man's surly gaze, high cheek bones, heavy-lidded eyes, aquiline nose, and short hair and beard recall portraits of the emperor Philip the Arab, who reigned from AD 244-249. The hair and beard were carved in shallow relief and then textured with swift strokes of the chisel. The roughly carved support on the back of the neck is a feature often found on Roman portraits from Turkey. Philip the Arab was a successful general, and this private portrait may be of a soldier. Text from the Princeton University Art Museum label.

Portrait of a Man Recarved from an Anta Capital, ca. 79-96 AD Roman Grayish brown, coarsely crystalline marble # Y1953-25 Text from the Princeton University Art Museum label.

Portrait of a Man Recarved from an Anta Capital, ca. 79-96 AD Roman Grayish brown, coarsely crystalline marble # Y1953-25 Text from the Princeton University Art Museum label.

Portrait of a Man Recarved from an Anta Capital, ca. 79-96 AD Roman Grayish brown, coarsely crystalline marble # Y1953-25 Text from the Princeton University Art Museum label.

Head of a Youth Roman, 3rd quarter of the first century BC White marble with reddish patina # Y1991-32 Learned Romans admired the works of Greek sculptors of the fifth and fourth centuries BC much in the same way as we today revere the "Old Masters" of the Renaissance and Baroque periods. This head, with its narrow face, rounded chin, thick eyelids, and elaborate coiffure- strands radiating from a central point on the crown and wrapped around a thick hair band- looks back to various models in the "Severe Style" of the second quarter of the fifth century BC. A similar hairstyle characters the so-called Pylades, a statue assigned to the the circle of the sculptor Pasiteles and usually dated to about 50 BC. Text from the Princeton University Art Museum label.

Head of a Youth Roman, 3rd quarter of the first century BC White marble with reddish patina # Y1991-32 Learned Romans admired the works of Greek sculptors of the fifth and fourth centuries BC much in the same way as we today revere the "Old Masters" of the Renaissance and Baroque periods. This head, with its narrow face, rounded chin, thick eyelids, and elaborate coiffure- strands radiating from a central point on the crown and wrapped around a thick hair band- looks back to various models in the "Severe Style" of the second quarter of the fifth century BC. A similar hairstyle characters the so-called Pylades, a statue assigned to the the circle of the sculptor Pasiteles and usually dated to about 50 BC. Text from the Princeton University Art Museum label.

Head of a Youth Roman, 3rd quarter of the first century BC White marble with reddish patina # Y1991-32 Learned Romans admired the works of Greek sculptors of the fifth and fourth centuries BC much in the same way as we today revere the "Old Masters" of the Renaissance and Baroque periods. This head, with its narrow face, rounded chin, thick eyelids, and elaborate coiffure- strands radiating from a central point on the crown and wrapped around a thick hair band- looks back to various models in the "Severe Style" of the second quarter of the fifth century BC. A similar hairstyle characters the so-called Pylades, a statue assigned to the the circle of the sculptor Pasiteles and usually dated to about 50 BC. Text from the Princeton University Art Museum label.

Head of Homer Roman, late 1st century AD Marble # Y1962-134 Homer, the legendary author of The Iliad and The Odyssey, usually dated to the 8th century BC, may not have existed at all, and if he did, there was no true record of his appearance by the time his first "portraits" were carved in the Hellenistic period. Instead his image conformed to popular conceptions of the epic poet as elderly and blind. The headband circling this weathered head of Homer once was supplemented in modern times with a metal ornament, the drill holes for which are visible on the forehead. Text from the Princeton University Art Museum label.

Head of one of the Dioscuri Roman, ca. AD 130 Marble # Y1988-10 This head of a youth is identified by his rounded, conical cap (pilos) as one of the Dioscuri, Castor and Pollux, sons of Zeus, who were revered by storm-tossed mariners as guardian deities but who normally were represented as horsemen (see the pair of marble statuettes at the other end of this gallery). A laurel wreath circles the edge of the pilos; the hole in front probably held a star, a common attribute of the "heavenly twins," who were identified with the constellation Gemini. The idealized features and mane-like hair descend ultimately from portraits of Alexander the Great. Text from the Princeton University Art Museum label.

Head of one of the Dioscuri Roman, ca. AD 130 Marble # Y1988-10 This head of a youth is identified by his rounded, conical cap (pilos) as one of the Dioscuri, Castor and Pollux, sons of Zeus, who were revered by storm-tossed mariners as guardian deities but who normally were represented as horsemen (see the pair of marble statuettes at the other end of this gallery). A laurel wreath circles the edge of the pilos; the hole in front probably held a star, a common attribute of the "heavenly twins," who were identified with the constellation Gemini. The idealized features and mane-like hair descend ultimately from portraits of Alexander the Great. Text from the Princeton University Art Museum label.

Helmeted head of Athena ca. 50 A.D. Roman Julio-Claudian White marble, coarse-grained and highly crystalline h. 32.4 cm., w. 19.2, d. 21.3 cm. (12 3/4 x 7 9/16 x 8 3/8 in.) (preserved) Gift of Mrs. M. E. L. Joline in 1914 Object Number: y178 Text from: artmuseum.princeton.edu/art/collections/ancient/search/ Athena, virgin goddess of war, wisdom, and the liberal arts, was the patron deity of Athens. She is identified by the helmet she wears pushed up on top of her head; the rolling flaps emerging from beneath her helmet are part of a Persian cap, an allusion to Athens' leadership in the Persian Wars. The head is from a Roman copy of an original Greek work of the late fifth or early fourth centuries BC, known as the Ince-Blundell Type, after a fully-preserved version in Ince Hall, England. Text from the Princeton University Art Museum label.

Helmeted head of Athena ca. 50 A.D. Roman Julio-Claudian White marble, coarse-grained and highly crystalline h. 32.4 cm., w. 19.2, d. 21.3 cm. (12 3/4 x 7 9/16 x 8 3/8 in.) (preserved) Gift of Mrs. M. E. L. Joline in 1914 Object Number: y178 Text from: artmuseum.princeton.edu/art/collections/ancient/search/ Athena, virgin goddess of war, wisdom, and the liberal arts, was the patron deity of Athens. She is identified by the helmet she wears pushed up on top of her head; the rolling flaps emerging from beneath her helmet are part of a Persian cap, an allusion to Athens' leadership in the Persian Wars. The head is from a Roman copy of an original Greek work of the late fifth or early fourth centuries BC, known as the Ince-Blundell Type, after a fully-preserved version in Ince Hall, England. Text from the Princeton University Art Museum label.

Helmeted head of Athena ca. 50 A.D. Roman Julio-Claudian White marble, coarse-grained and highly crystalline h. 32.4 cm., w. 19.2, d. 21.3 cm. (12 3/4 x 7 9/16 x 8 3/8 in.) (preserved) Gift of Mrs. M. E. L. Joline in 1914 Object Number: y178 Text from: artmuseum.princeton.edu/art/collections/ancient/search/ Athena, virgin goddess of war, wisdom, and the liberal arts, was the patron deity of Athens. She is identified by the helmet she wears pushed up on top of her head; the rolling flaps emerging from beneath her helmet are part of a Persian cap, an allusion to Athens' leadership in the Persian Wars. The head is from a Roman copy of an original Greek work of the late fifth or early fourth centuries BC, known as the Ince-Blundell Type, after a fully-preserved version in Ince Hall, England. Text from the Princeton University Art Museum label.

Roman Isis/Aphrodite, 2nd–3rd century A.D. Bronze 30.5 x 12.7 x 7.5 cm (12 x 5 x 2 15/16 in.) Museum purchase, Carl Otto von Kienbusch Jr., Memorial Collection y1957-20 Text from: artmuseum.princeton.edu/collections/objects/28047

Fragment of a Relief of a Horseman and Bearded Man Greek, Attic, beginning of the 4th century BC Pentelic marble # 1996-66 A bearded man wearing a himation leans on his staff as he faces an approaching horseman, of whom only one leg is preserved. The scene resembles votive reliefs in which gods or heros are adored by mortal worshippers of lesser stature. The man on this relief, however, is taller than the horse. He resembles a figure from another Athenian relief dated 398/397 BC, who has been identified as Demos, the personification of the People of Athens. Instead of a votive relief, this sculpture may have commemorated a victory in an equestrian contest. Text from the Princeton University Art Museum label.