Kalinowski, Angela

: Plaque with Cupids Boxing and Wrestling; Bronze plaque depicting four nude cupids boxing and wrestling in silver and gold inlay., British Museum. “plaque.” The British Museum Collections Online. Accessed November 22, 2017. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=399734&partId=1&searchText=roman

: Relief with Gladiators; Fragmentary relief commemorating a contraretiarius' (type of gladiator) victories against various retiarii (another type of gladiator). The main image depicts three gladiators in various types of armor, one holding a sword. An inscription above the gladiators indicates that he won 'I, XI, XII' fights and the defeated gladiators' names are as follows: Improbus, Pantheriscus, and Ilarus., Dates to c. 3rd century CE.

: Relief with Gladiators; This fragmentary marble relief is broken away on three sides. It depicts a retiarius fighting a secutor. The retiarius stands on a platform (pons, or bridge), he holds a trident and knife in his left hand, and in his right hand he holds a stone which he is about to hurl at the secutor, who is mounting the ramp toward him. Between the feet of the retiarius is a pile of stones. The secutor wears a helmet with a plain crest and has a rectangular shield on his extended right arm and a gladius in his left. Although we can identify the types of gladiator as a retiarius and a secutor, when they fought for the possession of a platform as portrayed on this relief, they are called pontiarii (‘bridge men’). Inscriptions identify the gladiators as [Ἀγορ]άκριτος, '[Agor]kritos', left; and Μάρισκος, Mariskos, right. In the space below the pons the inscription reads ἀπελύθη ἔξω λούδου - 'Freed from the games or from the ludus'., Dates to c. 2nd-3rd century CE. The inscriptions record the names of the combatants and that one of them, most likely Agoraktritos the retiarius was freed not just from this combat but from the games or the ludus in general., Junkelmann M. 2000, Das Spiel mit dem Tod, Mainz. Bacchielli L. 1989, “I pontiarii: una definizione per via iconografica”, dans L’Africa romana VII 1989, p. 769-772.

: Relief with Gladiators; This fragmentary marble relief is broken away on three sides. It depicts a retiarius fighting a secutor. The retiarius stands on a platform (pons, or bridge), he holds a trident and knife in his left hand, and in his right hand he holds a stone which he is about to hurl at the secutor, who is mounting the ramp toward him. Between the feet of the retiarius is a pile of stones. The secutor wears a helmet with a plain crest and has a rectangular shield on his extended right arm and a gladius in his left. Although we can identify the types of gladiator as a retiarius and a secutor, when they fought for the possession of a platform as portrayed on this relief, they are called pontiarii (‘bridge men’). Inscriptions identify the gladiators as [Ἀγορ]άκριτος, '[Agor]kritos', left; and Μάρισκος, Mariskos, right. In the space below the pons the inscription reads ἀπελύθη ἔξω λούδου - 'Freed from the games or from the ludus'., Dates to c. 2nd-3rd century CE. The inscriptions record the names of the combatants and that one of them, most likely Agoraktritos the retiarius was freed not just from this combat but from the games or the ludus in general., Junkelmann M. 2000, Das Spiel mit dem Tod, Mainz. Bacchielli L. 1989, “I pontiarii: una definizione per via iconografica”, dans L’Africa romana VII 1989, p. 769-772.

: Relief with Lion Hunt; Gypsum relief of royal lion hunts., Dates to c. 645 BCE from the reign of Ashurbanipal (c.669-630 BCE) during the Neo-Assyrian Period.

: Relief with Lion Hunt; Gypsum relief of royal lion hunts., Dates to c. 645 BCE from the reign of Ashurbanipal (c.669-630 BCE) during the Neo-Assyrian Period.

: Relief with a Victorious Charioteer; The relief is entirely broken away at the top, removing the heads of all the individuals portrayed. Likewise the bottom is broken away, preserving only the tops of the prizes. It is the acclamation of a victorious charioteer (auriga) who is represented in the centre of the relief in an eight-horse chariot with the horses drawn up. The legs and heads of the horses are broken away, but the musculature of their forequarters is nicely rendered. To the left is another charioteer in a two-horse chariot (biga). In the upper register and rendered in lower relief is a horseman with his arm lifted in acclamation of the charioteer, and a judge in a toga contabulata who is probably giving prizes to the charioteer. Below the main scene are visible the tops of the prizes of victory: to the left, the purse with the prize money, and in the center, a crown., Dates to very late 2nd-early 3rd century CE (Tetrarchic period)., Gianetti, S. ‘Frammento di rilievo con auriga vincitore.’ In C. Gaspari, R. Paris eds., Palazzo Massimo alle Terme. Le collezioni. Roma: 2013, p. 356. Humphrey, J. Roman Circuses. Arenas for chariot racing. London, 1986, pp. 223-232. Saronni, S. “L’’editor ludi’, il fornitore di cavalli e l’auriga: variazioni d’immagine dei “ludi circenses.” In ACME (Annali della Facoltà di Lettere e Filosofia dell’ Università degli Studii di Milano), 65.2 (2012), pp.291-301.

: Relief with a Victorious Charioteer; The relief is entirely broken away at the top, removing the heads of all the individuals portrayed. Likewise the bottom is broken away, preserving only the tops of the prizes. It is the acclamation of a victorious charioteer (auriga) who is represented in the centre of the relief in an eight-horse chariot with the horses drawn up. The legs and heads of the horses are broken away, but the musculature of their forequarters is nicely rendered. To the left is another charioteer in a two-horse chariot (biga). In the upper register and rendered in lower relief is a horseman with his arm lifted in acclamation of the charioteer, and a judge in a toga contabulata who is probably giving prizes to the charioteer. Below the main scene are visible the tops of the prizes of victory: to the left, the purse with the prize money, and in the center, a crown., Dates to very late 2nd-early 3rd century CE (Tetrarchic period)., Gianetti, S. ‘Frammento di rilievo con auriga vincitore.’ In C. Gaspari, R. Paris eds., Palazzo Massimo alle Terme. Le collezioni. Roma: 2013, p. 356. Humphrey, J. Roman Circuses. Arenas for chariot racing. London, 1986, pp. 223-232. Saronni, S. “L’’editor ludi’, il fornitore di cavalli e l’auriga: variazioni d’immagine dei “ludi circenses.” In ACME (Annali della Facoltà di Lettere e Filosofia dell’ Università degli Studii di Milano), 65.2 (2012), pp.291-301.

: Scarab with Athlete and Strigil; Carnelian scarab depicting a nude athlete picking up either a discus or sponge. Next to the athlete is a large strigil., Dates to the late 6th century BCE in the Cypro-Archaic II period., The British Museum. "Scarab". The British Museum. Accessed May 5, 2017. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=400205&partId=1&searchText=greek

: Scarab with Athlete and Strigil; Carnelian scarab depicting a nude athlete picking up either a discus or sponge. Next to the athlete is a large strigil., Dates to the late 6th century BCE in the Cypro-Archaic II period., The British Museum. "Scarab". The British Museum. Accessed May 5, 2017. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=400205&partId=1&searchText=greek

: Sestertius with Flavian Amphitheatre (Colosseum); Sestertius depicting the Flavian Amphitheatre., Minted 78-81 CE during the reign of Roman Emperor Titus. The coin depicts a bird's eye view of the amphitheatre. The exterior has a facade of three superimposed tiers of arcades and a fourth attic storey with blind square windows. Above these are the masts which held the velarium or awning. Just visible is the triumphal arch above the central arch on the first storey. The coin also portrays the statues which decorated the arcades of the second and third storeys. The interior is also depicted, with small dots representing the numerous spectators in the cavea. The semicircular structure in the centre of the cavea may represent the imperial box.

: Sestertius with Flavian Amphitheatre (Colosseum); Sestertius depicting the Flavian Amphitheatre., Minted 78-81 CE during the reign of Roman Emperor Titus. The coin depicts a bird's eye view of the amphitheatre. The exterior has a facade of three superimposed tiers of arcades and a fourth attic storey with blind square windows. Above these are the masts which held the velarium or awning. Just visible is the triumphal arch above the central arch on the first storey. The coin also portrays the statues which decorated the arcades of the second and third storeys. The interior is also depicted, with small dots representing the numerous spectators in the cavea. The semicircular structure in the centre of the cavea may represent the imperial box.

: Situla with Athletes; Situla decorated with a judge holding a wreath and palm branches watching the competitions taking place between nude boxers and wrestlers. Prizes are displayed between the competitors, including wreaths, a cup, and stands with basins. The handle is missing., Shape is similar to those made in Gaul dating to c. 75-100 CE., The J. Paul Getty Museum. "Situla with a Frieze of Athletic Contests." The J. Paul Getty Museum. Accessed May 5, 2017. http://www.getty.edu/art/collection/objects/29489/unknown-maker-situla-with-a-frieze-of-athletic-contests-gallo-roman-75-100/

: Situla with Athletes; Situla decorated with a judge holding a wreath and palm branches watching the competitions taking place between nude boxers and wrestlers. Prizes are displayed between the competitors, including wreaths, a cup, and stands with basins. The handle is missing., Shape is similar to those made in Gaul dating to c. 75-100 CE., The J. Paul Getty Museum. "Situla with a Frieze of Athletic Contests." The J. Paul Getty Museum. Accessed May 5, 2017. http://www.getty.edu/art/collection/objects/29489/unknown-maker-situla-with-a-frieze-of-athletic-contests-gallo-roman-75-100/

: Skyphos with Pankration; Black-Figure skyphos depicting two nude athletes competing in the pankration, with a nude male standing on one side and a clothed paidotribe holding a stick and wearing a wreath on the other. An inscription runs along the top of the vessel., Dates to c. 500 BCE., Metropolitan Museum of Art. "Terracotta skyphos (deep drinking cup)." The Metropolitan Museum of Art Online. Accessed November 22, 2017. http://www.metmuseum.org/art/collection/search/247221

: Skyphos with Pankration; Black-Figure skyphos depicting two nude athletes competing in the pankration, with a nude male standing on one side and a clothed paidotribe holding a stick and wearing a wreath on the other. An inscription runs along the top of the vessel., Dates to c. 500 BCE., Metropolitan Museum of Art. "Terracotta skyphos (deep drinking cup)." The Metropolitan Museum of Art Online. Accessed November 22, 2017. http://www.metmuseum.org/art/collection/search/247221

: Stadium at Aphrodisias; Remains of the stadium at Aphrodisias., The stadium was originally built to host athletic contests and has 22 rows of seats with a capacity of 30,000 spectators (Aphrodisias.com, 2017). An amphitheatre was built into the stadium at the turn of the 4th-5th century CE and was used for munera (gladiator combats), venatio (beast shows), games, and circuses (Dunbabin, 2016: p.8; Aphrodisias.com, 2017)., Dunbabin, Katherine M. D. Theater and Spectacle in the Art of the Roman Empire. New York: Cornell University, 2016. Aphrodisias.com. "Aphrodisias Stadium". Accessed December 20, 2017. http://www.aphrodisias.com/listingview.php?listingID=9

: Stadium at Aphrodisias; Remains of the stadium at Aphrodisias., The stadium was originally built to host athletic contests and has 22 rows of seats with a capacity of 30,000 spectators (Aphrodisias.com, 2017). An amphitheatre was built into the stadium at the turn of the 4th-5th century CE and was used for munera (gladiator combats), venatio (beast shows), games, and circuses (Dunbabin, 2016: p.8; Aphrodisias.com, 2017)., Dunbabin, Katherine M. D. Theater and Spectacle in the Art of the Roman Empire. New York: Cornell University, 2016. Aphrodisias.com. "Aphrodisias Stadium". Accessed December 20, 2017. http://www.aphrodisias.com/listingview.php?listingID=9

: Stadium at Delphi; Stadium at Delphi with stone seating., Dates to c. 5th century BCE with the stone seats added in the 2nd century BCE., Cartwright, Mark. "Stadium, Delphi." Ancient History Encyclopedia. Accessed May 19, 2017. http://www.ancient.eu/image/453/

: Stadium at Delphi; Stadium at Delphi with stone seating., Dates to c. 5th century BCE with the stone seats added in the 2nd century BCE., Cartwright, Mark. "Stadium, Delphi." Ancient History Encyclopedia. Accessed May 19, 2017. http://www.ancient.eu/image/453/