Antiquities Exhibits

In 1 BCE, the Roman poet Pūblius Ovidius Nāsō , known to us as Ovid, penned three books, the Ars amatoria (The Art of Love) instructing Romans in the techniques of seduction and love. The first book addresses men and teaches them how to seduce women, the second, also to men, teaches how to keep a lover. The third book addresses women and teaches seduction techniques. Ovid describes the places one can go to find a lover, like the theater, a triumph, which he thoroughly describes, or arena – and ways to get the girl to take notice, including seducing her covertly at a banquet. Ovid emphasizes care of the body for the lover and advises men to avoid giving too many gifts, keep up their appearance, hide affairs, compliment their lovers, and ingratiate themselves with slaves to stay on their lover's good side.  Ovid gives women detailed instructions on appearance telling them to avoid too many adornments. He advises women to read elegiac poetry, learn to play games, sleep with people of

Although art historians are not certain whether a Lasa was a major or minor Etruscan deity, it is thought the domain and purpose of the lasa morphed into a being known as a Lar to the Romans. Lares are thought to have been hero-ancestors, guardians of the hearth, fields, boundaries, or fruitfulness, or an amalgamation of these. Roman writers sometimes conflated the Lares with domestic Penates but the Lares had much broader domains. Roadways, seaways, agriculture, livestock, towns, cities, the state, and its military were all under the protection of their particular Lar or Lares. Those who protected local neighborhoods (vici) were housed in the crossroad shrines (Compitalia), which served as a focus for the religious, social, and political lives of their local, overwhelmingly plebeian communities. Their cult officials included freedmen and slaves, otherwise excluded by status or property qualifications from most administrative and religious offices. Despite official bans on non-Christia

The Meidias Painter was an Athenian red-figure vase painter active in the last quarter of the 5th century BCE (fl. c. 420 to c. 400 BCE). He is named after the potter whose signature was found on a large hydria, depicting the rape of the daughters of Leucippus (Leukippos), prince of Messenia, by the Dioscuri, excavated from an Etruscan tomb.  John D. Beazley, renowned connoisseur of Greek vases, said of Meidias' work, "Here there is beauty: The gleam of gold, loves and ladies with soft limbs, in soft raiment, and all that is shining, easeful and luxurious: perfume, honey and roses."  The Meidias Painter was known for combining his theatrical “florid” style with his “flying drapery.”  He worked during the period of the Peloponnesian War and his depiction of many Attic legends, particularly those involving Erichtonios, son of Hephaistos, points to "a clear assertion of local pride prompted by the Athenians' decisive role in the fight against the barbarian" acc

Despite fanciful descriptions by some ancient sources like Nicias (470-415 BCE) that amber "is a liquid produced by the rays of the sun, and that these rays, at the moment of the sun's setting, striking with the greatest force upon the surface of the soil, leave upon it an unctuous sweat, which is carried off by the tides of the Ocean, and thrown up upon the shores of Germany", Roman naturalist Pliny the Elder cited sources who were well aware of amber's actual origin from tree resin. In Book 37, section XI of Natural History, Pliny wrote: "Amber is produced from a marrow discharged by trees belonging to the pine genus, like gum from the cherry, and resin from the ordinary pine. It is a liquid at first, which issues forth in considerable quantities, and is gradually hardened [...] Our forefathers, too, were of opinion that it is the juice of a tree, and for this reason gave it the name of "succinum" and one great proof that it is the produce of a tree o

From the 1st century BCE onwards, the Roman army began to deploy "barbarians" to protect Roman frontiers. This trend continued into the Imperial Period and the expanded borders necessitated the use of increasing numbers of foederati to defend the empire.  By the 4th century CE, of more than 75,000 troops stationed in Gaul, most hailed from Germania, an area stretching as far north as Scandinavia and as far east as the Vistula River.   Fortunately for historians, the grave goods of these Germanic warriors both in and outside the empire have provided a treasure trove of information about the money, gifts, and often elaborately decorated military insignia these men acquired during their service to Rome.   "Promises of Roman citizenship and military and economic support encouraged barbarian leaders to assist their wealthy neighbor, primarily by providing troops," observes Melanie Holcomb in her paper, Barbarians and Romans, published by the Metropolitan Museum of Art.