#aquicklookat

The closest we will get to photographs of Egyptians who lived during 30 BC-AD 324. 

Shown here are examples of the extraordinary mummy mask portraits produced in Egypt during the Roman period. These portraits were essentially the mixing of two traditions: the Roman interest in realistic portraiture, and mummification, which had been practiced in Egypt for millennia. These were most often painted in encaustic (a mixture of pigment and hot wax), on a wooden board, at an approximately lifelike scale. These wooden panels were then placed on the outside of the cartonnage coffin, either cautiously wrapped into the mummy bandages, or placed over the head of the deceased individual. 

The topic of the accuracy of the portraits has been heavily researched, and it is now clear that these portraits displayed the person as they appeared in life -with sometimes a bit of artistic licence. It has been possible for researchers to recognize members of a family through analyzing their physical similarities depicted, and to date some mummies on the basis of clothing, hairstyles and jewellery worn in the portrait.

Now for a few points about the specific portraits shown as examples above (for more detailed accounts, check out the museum listings given below). All of these examples were, of course, found in Egypt. The 'portrait of a thin-faced man' shown first has remarkably free brushwork, and the man depicted displays a direct, intent gaze. The braids worn by the women in the 2nd example date the portrait to around the period of Roman emperor Trajan. The next portrait of a woman is attributed to the Malibu Painter. Dated to the Flavian dynasty by her hairstyle, she has incredibly large, expressive eyes, and her rich jewellery is indicative of her elite status. Perhaps the most remarkable of the portraits given in this post, the 4th example is of a young boy named Eutyches, who is dressed in a white Roman tunic, and looks calmly at the viewer. High rates of infant and child mortality, as attested to by this portrait, was an unfortunate reality of the ancient world in general. A bearded man is shown next, which dates to the Roman Imperial period. The portrait of a woman shown in the 6th image is attributed to the Isidora Master, and displays a mature women named Isidora, fully accessorized. A youth is displayed in the 7th portrait. Interestingly, a treated abnormality is evident in his right eye. Dating to the Roman Imperial period, the man displayed in the final example shown gazes confidently out at the viewer.

While I always strongly encourage people to view all forms of ancient art in person, the mummy portraits of Roman Egypt are of the most remarkable to see face-to-face. If you are to see no other form of ancient art, if at all possible, go see examples of these, for they bring ancient history alive. As artist Euphrosyne Doxiadis stated: “The Fayum portraits have an almost disturbing lifelike quality and intensity. The illusion, when standing in front of them, is that of coming face to face with someone one has to answer to—someone real."

Portrait of a thin-faced man, AD 140–170, courtesy of the Metropolitan Museum of Art, New York: 09.181.3.

Female Portrait Mask, 2nd century, courtesy of the Walters Art Museum, Baltimore: 32.5.

Mummy Portrait of a Woman, AD 75-100, courtesy of the J. Paul Getty Museum, Villa Collection, Malibu, California: 73.AP.91.

Portrait of the Boy Eutyches, AD 100–150, courtesy of the Metropolitan Museum of Art, New York: 18.9.2.

Mummy Portrait of a Bearded Man, ca. AD 170-180, courtesy of the Walters Art Museum, Baltimore: 32.6.

Mummy Portrait of a Woman, AD 100-110, courtesy of the J. Paul Getty Museum, Villa Collection, Malibu, California: 81.AP.42.

Portrait of a Youth with a Surgical Cut in one Eye, AD 190–210 courtesy of the Metropolitan Museum of Art, New York: 09.181.4.

A quick look at: Greek votive offerings, with a particular focus on those of the Archaic period from Olympia.

"Since we have received everything from the Gods, and it is right to pay the giver some tithe of his gifts, we pay such a tithe of possessions in votive offering, of bodies in gifts of (hair and) adornment, and of life in sacrifices." -Sallustius in 'On the Gods and the Cosmos,' XVI (translation by Gilbert Murray).

A 'votive offering' is essentially a gift to a god. Once dedicated, the object is thought to become the "inalienable property of that god" (Whitley 2001). In theory, almost any kind of object could be used as a votive, we even have literary accounts which speak of captured ships being dedicated as a thank offering to a god (see Herodotus VIII.121).

Here I won't be exploring the psychology of giving such offerings, however, it is likely that the motives were not quite so straightforward as suggested by the Latin phrase 'do ut des' (I give that you may give). While the concept of reciprocity, a cycle of exchange between human and god, is of course relevant here, one must also not underestimate the value ancient Greek society placed on visibly showing one's piety.

The shown Greek votive offerings are from Olympia, and consist largely of tiny animals made of bronze, stone, and clay. These objects date from the 10th century BCE, though those from the 8th century are the greatest in number. From the 9th century BCE, we can see a distinct increase in the range of votive offerings, and their quality.

A quick look at: the gladiators of Rome

"I turned in to the games one mid-day hoping for a little wit and humor there. I was bitterly disappointed. It was really mere butchery. [...] Then men were thrown to lions and to bears: but at midday to the audience. There was no escape for them. The slayer was kept fighting until he could be slain. "Kill him! Flog him! Burn him alive" was the cry: "Why is he such a coward? Why won't he rush on the steel? Why does he fall so meekly? Why won't he die willingly?" (Via the Internet Ancient History Sourcebook).

The above passage is given by Roman historian Seneca (Epistles 7), offering us a vivid (albeit, aristocratic) eyewitness account of gladiatorial games in the age of Nero. A unique product of Rome and Italy, the sensation of gladiators has become one of the most famous aspects of Roman society, and epitomizes the Roman taste for blood sports. 

There never seemed to have been a shortage of willing participants in Rome for this grim life. Candidates were originally found among captives and slaves, those with nothing to lose. However, as the popularity of the sport continued to grow, so did the need for other avenues of supply. During the empire, noblemen were sent by emperors into the arena for committing crimes. Freedmen and imperial citizens came to enter the auctorati, a class of people who sold themselves to gladiator schools. The auctorati gave an oath of service, by which they agreed to submit to burning, beating, and death if they didn't perform the tasks required of them as gladiators. As we may imagine, it took a truly desperate man to enter into such a grim life of combat and death, a measure that was prompted in times of economic or political hardship. This was a way to escape debtors for those in poverty.

Shown at the top of the post are a series of Roman mosaics depicting gladiatorial scenes. The first is from the Villa Borghese, and on view at the Galleria Borghese in Rome. Note the names of the gladiators inscribed next to the figures, and the Θ symbol (it seems likely here that it is the Greek letter Θ for θάνατος, 'dead'), which marks those who have died in combat. The second mosaic is from Römerhalle in Germany, and the remaining mosaics are from the Roman villa in Nennig, Germany.