Pastor Bonus from Ostia… Does anyone have any further information on this image?
The Sack of Rome by the Visigoths on 24 August 410 by J-N Sylvestre (1890)
Are there any contemporary representations of Alaric? If not, why not?
Submerged by the sea eons ago, leaving fossils on the high plateau, the Kharga depression is hemmed in by giant cliffs and broken up by massifs, with belts of dunes advancing across the oasis. Southernmost of Egypt’s five oases, historically, Kharga’s importance was due to the desert trade routes that converged upon the oasis.
In the case of Kharga, this is made particularly evident by the presence of a chain of fortresses that the Romans built to protect the Darb el-Arbain, the long caravan route running north-south between Middle Egypt and the Sudan. The forts vary for size and function, some being just small outposts, some guarding large settlements complete with cultivation. Some were installed where earlier settlements already existed, while others were probably founded anew. All of them are made of mud bricks, but some also contain small stone temples with inscribed walls.
The capital, El Kharga is relatively unremarkable but it is the surrounding area that offers the most interest. Two of the oasis’ most evocative monuments lie just a few miles north of El Kharga. Although botched in a 20th century conservation fiasco, the 6th century Temple of Hibis dedicated to Amun-Re is one of the few Persian monuments left in Egypt. The rambling c. 4th century necropolis of al-Bagawat, which is built entirely of mud brick, is one of the oldest Christian cemeteries in Egypt. The 263 mud-brick chapels display diverse forms of mud-brick vaulting and faint murals. Just beyond here is an imposing ruined monastery – Deir el-Kashef.
Ares-Mars represents Tuesday in a mosaic depicting the seven days of the week. He sits on a throne, armed with shield, helm and spear, and is attended by his son Phobos (Fear), and the winged goddess Nike (Victory).
Floor Mosaic, ca 3rd AD, Villa at Orbe-Bosceaz, Orbe, Switzerland.
(Source: mythpictures)
“Asklepios was more closely associated with the serpent. The Hellenic religious spirit represented the god as a dignified human figure, very similar in type to Zeus, supporting his right hand on a staff round which a serpent is twined. His serpent nature clings to him, though only as an attribute and adjunct, in the fully Hellenised form. In the Anatolian ritual the god was the Asklepian serpent, rather than the human Asklepios. Thus in Figure 23 the Emperor Caracalla, during his visit to Pergamum, is represented as adoring the Pergamenian deity, a serpent wreathed round the sacred tree. Between the God-Serpent and the God-Emperor stands the little figure of Telesphorus, the Consummator, a peculiarly Pergamenian conception closely connected with Asklepios.”
Satyr and Maenad, terracotta, 17.5”h, Augustan period, c. 31 B.C. - 14 A.D.
(Metropolitan Museum of Art, New York):
Italy - XVII century. The plague doctor used to wear a waxed coat, a sort of protective goggles and gloves, the beak of their masks contained aromatic substances. Rome, 1656.
In the Woods at Giverny, Blanche Hoschedé at Her Easel with Suzanne Hoschedé Reading, 1887, Claude Monet.
Félix Edouard Vallotton, Femme assise dans un fauteuil
GPOY I’M GLAD MONDAY IS ALMOST OVER
Julia Gukova. Illustration from The Legendary Unicorn, 2004
Wingate Paine
6in:
Ushio Amagatsu
Eleanor Fortescue Brickdale, The Uninvited Guest