Kalinowski, Angela

Circus at Leptis Magna
The remains of the circus at Leptis Magna., The circus was first built in 56 CE and restored in the 2nd century CE (Humphrey, 1986: p.27). The barrier in the middle, called a spina, is one of the most complete originals that survived antiquity; the wall was 1.6 meters tall and includes two turning posts (metae) at 231 m tall, decorations, and water features (Humphrey 1986: p.38). Also to survive were a number of herm bases and shafts in situ, as well as altars and statue groups (Humphrey 1986: p.47). It was linked to the amphitheatre by a gallery (Dunbabin, 2016: p.92)., Dunbabin, Katherine M. D. Theater and Spectacle in the Art of the Roman Empire. New York: Cornell University, 2016. Humphrey, John H. Roman Circuses: Arenas for Chariot Racing. Berkeley and Los Angeles: University of California Press, 1986.
Circus of Maxentius
The Circus of Maxentius is much better preserved than the Circus Maximus. In evidence are the restored remains of the long central barrier (296 meters) around which the chariots raced (spina) and at each of its ends, and the restored substructures for the turning posts (metae). The remains of the vaulted substructures (north and south sides) on which were constructed seats for approximately 10,000 spectators are preserved on each of the long sides, as is the short eastern wall. The Circus of Maxentius is part of a larger complex which includes an imperial villa palace to the north west of the circus and connected to it by a hallway leading to an imperial viewing box (pulvinar); and a mausoleum for Romulus, the son of Maxentius., Dates to 305-312 CE during the reign of Maxentius. It is made of opus vittatum (concrete with block and brick facing)., CIL (Corpus Inscriptionum Latinarum) VI 1130. Claridge, Amanda. Rome. An Oxford Archaeological Guide. 2nd ed. Oxford and New York, 2010, p. 426-28. Humphrey, John H. Roman Circuses. Arenas for Chariot Racing. Berkeley, 1986, p.582-602.
Coin with the Circus Maximus
The reverse of this bronze sestertius depicts the Circus Maximus in Rome. In the lower part is the external facade of the building depicted as a continuous row of arches topped by exterior wall of the wooden gallery. Above this, the arena of the circus is depicted. A horizontal line represents the central barrier around which the chariots raced (spina) which is decorated with various monuments including the turning posts (meta), an obelisk (center), a shrine. To the left (east) of the spina is an arch topped with a four-horse chariot (quadriga), a monumental entrance way to the circus, while to the right (west) the profile of a two storey structure represents the starting gates (carceres) from which a quadriga is emerging. The inscription surrounding the image reads "SPQR OPTIMO PRINCIPI" and in the exergue is "S C" translating to "The Senate and People of Rome to the Best Emperor" and "by decree of the Senate" respectively., Dates to the Trajanic period 103-111 CE., RIC. Volume 2, Trajan 517.
Coin with the Circus Maximus
The reverse of this bronze sestertius depicts the Circus Maximus in Rome. In the lower part is the external facade of the building depicted as a continuous row of arches topped by exterior wall of the wooden gallery. Above this, the arena of the circus is depicted. A horizontal line represents the central barrier around which the chariots raced (spina) which is decorated with various monuments including the turning posts (meta), an obelisk (center), a shrine. To the left (east) of the spina is an arch topped with a four-horse chariot (quadriga), a monumental entrance way to the circus, while to the right (west) the profile of a two storey structure represents the starting gates (carceres) from which a quadriga is emerging. The inscription surrounding the image reads "SPQR OPTIMO PRINCIPI" and in the exergue is "S C" translating to "The Senate and People of Rome to the Best Emperor" and "by decree of the Senate" respectively., Dates to the Trajanic period 103-111 CE., RIC. Volume 2, Trajan 517.
Coins with Animals
Two silver denarii and one silver antoninianus depicting animals. On the reverse of the first silver denarius is the inscription 'L.LIVINEIVS REGVLVS IIIVIR A.P.F.' and an image of two gladiators fighting a boar, panther, and a lion. The obverse depicts the head of Regulus. The coin dates to 42 BCE. The middle coin is the silver antoninianus of Philip I, dating to c. 248 CE. The reverse depicts a hippopotamus with the inscription 'SAECVLARES AVGG IIII'. The obverse depicts the bust of Otacilia Severa (wife of Philip I), with a crescent and the inscription 'OTACIL. SEVERA AVG'. The final coin is a silver denarius of Caracalla dating to c. 206-210 CE. The reverse depicts a ship preparing to transport animals to Rome for the gladiatorial games. The animals include an ostrich, lion, zebra, bear, and a bull. An inscription also reads 'LAETITIA TEMPORVM'. The reverse depicts the head of Caracalla as co-Empero with Septimus Severus (father of Caracalla) and the inscription 'ANTONINVS PIVS AVG'., The silver antoninianus was minted to celebrate Rome's 1000th anniversary since its foundation and was one type of commemorative coin that depicted animals from the games (Metropolitan Museum of Art)., Metropolitan Museum of Art. "Roman Pastimes: The Games and the Baths." The Metropolitan Museum of Art, New York, New York.
Column Krater with Animal Hunt
Black-figure column krater depicting a boar hunt. A boar stands in the middle with hunting dogs on either side, along with nude hunters attacking the boar with spears. Inscriptions are found at the top of the images, recording the names of the hunters., Dates to c. 575-550 BCE. The names of the hunters are Polydas, Antiphatas, Polyphas, and Eudoras., British Museum. “The Hunt Krater.” The British Museum Collections Online. Accessed May 19, 2017. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=462414&partId=1&searchText=sport
Column Krater with Animal Hunt
Black-figure column krater depicting a boar hunt. A boar stands in the middle with hunting dogs on either side, along with nude hunters attacking the boar with spears. Inscriptions are found at the top of the images, recording the names of the hunters., Dates to c. 575-550 BCE. The names of the hunters are Polydas, Antiphatas, Polyphas, and Eudoras., British Museum. “The Hunt Krater.” The British Museum Collections Online. Accessed May 19, 2017. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=462414&partId=1&searchText=sport
Column Krater with Footrace
Black-figure krater depicting three nude male athletes in a foot race., Dates to c. 510-500 BCE., Cartwright, Mark. "Greek Foot Race." Ancient History Encyclopedia. Accessed May 19, 2017. http://www.ancient.eu/image/448/
Column Krater with Footrace
Black-figure krater depicting three nude male athletes in a foot race., Dates to c. 510-500 BCE., Cartwright, Mark. "Greek Foot Race." Ancient History Encyclopedia. Accessed May 19, 2017. http://www.ancient.eu/image/448/
Cup
Red-figure cup depicting three figures. On the left stands a nude youth holding a strigil in his right hand with his left hand extended; in the middle is a dressed female figure wearing a fillet; on the right is a nude youth also wearing a fillet holding an object in his right hand., Attributed to the Meleager Painter. It dates to c. 390-370 BCE., British Museum. “Cup.” The British Museum Collections Online. Accessed May 19, 2017. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=461455&partId=1&searchText=greek
Cup
Red-figure cup depicting three figures. On the left stands a nude youth holding a strigil in his right hand with his left hand extended; in the middle is a dressed female figure wearing a fillet; on the right is a nude youth also wearing a fillet holding an object in his right hand., Attributed to the Meleager Painter. It dates to c. 390-370 BCE., British Museum. “Cup.” The British Museum Collections Online. Accessed May 19, 2017. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=461455&partId=1&searchText=greek
Cup with Athlete
Red-figure cup depicting a nude youth holding an aryballos. Behind the figure are two javelins and a discus. An inscription reads 'MNA[S]ILA[S] (The J. Paul Getty Trust, 2017)., Dates to c. 510 BCE., The J. Paul Getty Trust. "Attic Red-Figure Cup Type C." The J. Paul Getty Museum. Accessed May 29 2017. http://www.getty.edu/art/collection/objects/12090/attributed-to-the-ambrosios-painter-attic-red-figure-cup-type-c-greek-attic-about-510-bc/
Cup with Athlete
Red-figure cup depicting a nude youth holding an aryballos. Behind the figure are two javelins and a discus. An inscription reads 'MNA[S]ILA[S] (The J. Paul Getty Trust, 2017)., Dates to c. 510 BCE., The J. Paul Getty Trust. "Attic Red-Figure Cup Type C." The J. Paul Getty Museum. Accessed May 29 2017. http://www.getty.edu/art/collection/objects/12090/attributed-to-the-ambrosios-painter-attic-red-figure-cup-type-c-greek-attic-about-510-bc/
Cup with Educational Scene
Red-figure attic cup with scenes of young boys and their teachers in an educational context. The inside depicts an older bearded male facing a male youth holding a lyre. An inscription is written on the inside of the decorative border: 'DORIS .GRAPHSEN' meaning 'Doris painted this'. The exterior depicts ten male figures, four seated youths and five standing bearded males. One of the youths holds a hare in his lap. In the background lyres, aryballoi, sponges, and string bags with knuckle bones are depicted (The J. Paul Getty Trust, 2017). Two inscriptions are on the exterior: 'HIPPODAMAS KALOS' and 'HIPPODAMAS []LOS' meaning 'Hippodamas is beautiful' (The J. Paul Getty Trust, 2017)., Dates to c. 480 BCE and was painted and made by Douris and Python. The gymnasium was a place for homosexual relationships between the older male teachers and their younger male students, with hares being a gift symbolizing this courtship in the early 500s BCE (The J. Paul Getty Trust, 2017)., The J. Paul Getty Trust. "Attic Red-Figure Cup." The J. Paul Getty Museum. Accessed May 29 2017. http://www.getty.edu/art/collection/objects/12082/douris-and-python-attic-red-figure-cup-greek-attic-about-480-bc/?artview=dor134900
Cup with Educational Scene
Red-figure attic cup with scenes of young boys and their teachers in an educational context. The inside depicts an older bearded male facing a male youth holding a lyre. An inscription is written on the inside of the decorative border: 'DORIS .GRAPHSEN' meaning 'Doris painted this'. The exterior depicts ten male figures, four seated youths and five standing bearded males. One of the youths holds a hare in his lap. In the background lyres, aryballoi, sponges, and string bags with knuckle bones are depicted (The J. Paul Getty Trust, 2017). Two inscriptions are on the exterior: 'HIPPODAMAS KALOS' and 'HIPPODAMAS []LOS' meaning 'Hippodamas is beautiful' (The J. Paul Getty Trust, 2017)., Dates to c. 480 BCE and was painted and made by Douris and Python. The gymnasium was a place for homosexual relationships between the older male teachers and their younger male students, with hares being a gift symbolizing this courtship in the early 500s BCE (The J. Paul Getty Trust, 2017)., The J. Paul Getty Trust. "Attic Red-Figure Cup." The J. Paul Getty Museum. Accessed May 29 2017. http://www.getty.edu/art/collection/objects/12082/douris-and-python-attic-red-figure-cup-greek-attic-about-480-bc/?artview=dor134900
Diadem Inscribed with Olympic Victor Name
Decorated gold diadem inscribed with the name of Tiberius Claudius Artemidorus, an Olympic victor, Included in the images are Helios, Horus, and Demeter-Isis., Dates to c. 67-98 CE., British Museum. “Diadem.” The British Museum Collections Online. Accessed May 19, 2017. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=466013&partId=1&searchText=pankr
Diadem Inscribed with Olympic Victor Name
Decorated gold diadem inscribed with the name of Tiberius Claudius Artemidorus, an Olympic victor, Included in the images are Helios, Horus, and Demeter-Isis., Dates to c. 67-98 CE., British Museum. “Diadem.” The British Museum Collections Online. Accessed May 19, 2017. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=466013&partId=1&searchText=pankr
Diadoumenos
Marble statue of a nude male athlete tying a ribbon around his head. The right hand is missing., Dates to c. 118-138 BCE. This is a Roman copy of a fifth century BCE Greek bronze original created by Polykeitos. It was discobered in a Roman theatre., British Museum. “statue.” The British Museum Collections Online. Accessed July 6, 2017. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=399047&partId=1&searchText=greek+athlete&page=1
Diadoumenos
Marble statue of a nude male athlete tying a ribbon around his head. The right hand is missing., Dates to c. 118-138 BCE. This is a Roman copy of a fifth century BCE Greek bronze original created by Polykeitos. It was discobered in a Roman theatre., British Museum. “statue.” The British Museum Collections Online. Accessed July 6, 2017. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=399047&partId=1&searchText=greek+athlete&page=1
Diadoumenos
Marble statue of a nude athlete tying a fillet around his head., Heavily restored, the arms, legs, tree trunk and head are ancient, the rest is a cast of another ancient copy from Delos. Roman copy dating to c. 69-96 CE of a Greek original (c. 430 BCE)., Metropolitan Museum of Art. "Fragments of a marble statue of the Diadoumenos (youth tying a fillet around his head)." The Metropolitan Museum of Art Online. Accessed November 15, 2017. http://www.metmuseum.org/art/collection/search/251838