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Jupiter. Roman Empire, 1st-2nd century AD.Marble.Good state of preservation.Measurements: 35 x 22
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Description
Jupiter. Roman Empire, 1st-2nd century AD.
Marble.
Good state of preservation.
Measurements: 35 x 22 x 10 cm.
Roman sculpture in white marble, representing a seated male figure, whose naked torso of powerful anatomy barely covers the cloak that falls in deep folds from one shoulder to the ground. A bird has been carved next to his right leg, the eagle being one of Jupiter's principal attributes. On the left arm (which has not survived) he must have held the sceptre, the other attribute of this powerful deity of the Roman pantheon (an assimilation of the Greek Zeus). According to the typology of the statue, the figure of a naked god, covered only with a cloak over the left shoulder, the person depicted can only be Zeus/Jupiter or Poseidon/Neptune, but the presence of the eagle leaves no room for doubt.
Stylistically, the strong relationship between Roman and Greek art can be clearly seen. The Roman Empire imported numerous works from Greek workshops, with a clear preference for art of Classical heritage and its idealisation and harmonious, delicate and balanced forms. In fact, throughout the history of Roman art, we can see a "swinging" movement between a greater preference for Roman realism and an approach to idealised Greek classicist art depending on the historical moment in which we are situated and the dynasty of emperors in power, until, from around the 3rd-4th century AD, sculpture evolved towards an idealisation and schematisation of forms that was seen as a response to the influence of the Christian religion and its promise of an eternal afterlife.
Son of Saturn and Ops, he was the supreme deity of the Capitoline Triad, which he formed with his wife Juno and daughter Minerva. Equivalent to the Greek Zeus, his iconographic attributes are the eagle, the thunderbolt and the sceptre of command. His cult, probably of Sabine origin, was introduced in Rome by Numa Pompilius, the second king of Rome, between the end of the 8th century BC and the beginning of the 7th century BC. The largest temple in Rome, built on the Capitoline Hill, was dedicated to his cult, where he was venerated as "Iuppiter Optimus Maximus", protector of the Roman city and state, from whom authority, laws and social order emanate.
Marble.
Good state of preservation.
Measurements: 35 x 22 x 10 cm.
Roman sculpture in white marble, representing a seated male figure, whose naked torso of powerful anatomy barely covers the cloak that falls in deep folds from one shoulder to the ground. A bird has been carved next to his right leg, the eagle being one of Jupiter's principal attributes. On the left arm (which has not survived) he must have held the sceptre, the other attribute of this powerful deity of the Roman pantheon (an assimilation of the Greek Zeus). According to the typology of the statue, the figure of a naked god, covered only with a cloak over the left shoulder, the person depicted can only be Zeus/Jupiter or Poseidon/Neptune, but the presence of the eagle leaves no room for doubt.
Stylistically, the strong relationship between Roman and Greek art can be clearly seen. The Roman Empire imported numerous works from Greek workshops, with a clear preference for art of Classical heritage and its idealisation and harmonious, delicate and balanced forms. In fact, throughout the history of Roman art, we can see a "swinging" movement between a greater preference for Roman realism and an approach to idealised Greek classicist art depending on the historical moment in which we are situated and the dynasty of emperors in power, until, from around the 3rd-4th century AD, sculpture evolved towards an idealisation and schematisation of forms that was seen as a response to the influence of the Christian religion and its promise of an eternal afterlife.
Son of Saturn and Ops, he was the supreme deity of the Capitoline Triad, which he formed with his wife Juno and daughter Minerva. Equivalent to the Greek Zeus, his iconographic attributes are the eagle, the thunderbolt and the sceptre of command. His cult, probably of Sabine origin, was introduced in Rome by Numa Pompilius, the second king of Rome, between the end of the 8th century BC and the beginning of the 7th century BC. The largest temple in Rome, built on the Capitoline Hill, was dedicated to his cult, where he was venerated as "Iuppiter Optimus Maximus", protector of the Roman city and state, from whom authority, laws and social order emanate.
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Jupiter. Roman Empire, 1st-2nd century AD.
Marble.
Good state of preservation.
Measurements: 35 x 22 x 10 cm.
Roman sculpture in white marble, representing a seated male figure, whose naked torso of powerful anatomy barely covers the cloak that falls in deep folds from one shoulder to the ground. A bird has been carved next to his right leg, the eagle being one of Jupiter's principal attributes. On the left arm (which has not survived) he must have held the sceptre, the other attribute of this powerful deity of the Roman pantheon (an assimilation of the Greek Zeus). According to the typology of the statue, the figure of a naked god, covered only with a cloak over the left shoulder, the person depicted can only be Zeus/Jupiter or Poseidon/Neptune, but the presence of the eagle leaves no room for doubt.
Stylistically, the strong relationship between Roman and Greek art can be clearly seen. The Roman Empire imported numerous works from Greek workshops, with a clear preference for art of Classical heritage and its idealisation and harmonious, delicate and balanced forms. In fact, throughout the history of Roman art, we can see a "swinging" movement between a greater preference for Roman realism and an approach to idealised Greek classicist art depending on the historical moment in which we are situated and the dynasty of emperors in power, until, from around the 3rd-4th century AD, sculpture evolved towards an idealisation and schematisation of forms that was seen as a response to the influence of the Christian religion and its promise of an eternal afterlife.
Son of Saturn and Ops, he was the supreme deity of the Capitoline Triad, which he formed with his wife Juno and daughter Minerva. Equivalent to the Greek Zeus, his iconographic attributes are the eagle, the thunderbolt and the sceptre of command. His cult, probably of Sabine origin, was introduced in Rome by Numa Pompilius, the second king of Rome, between the end of the 8th century BC and the beginning of the 7th century BC. The largest temple in Rome, built on the Capitoline Hill, was dedicated to his cult, where he was venerated as "Iuppiter Optimus Maximus", protector of the Roman city and state, from whom authority, laws and social order emanate.
Marble.
Good state of preservation.
Measurements: 35 x 22 x 10 cm.
Roman sculpture in white marble, representing a seated male figure, whose naked torso of powerful anatomy barely covers the cloak that falls in deep folds from one shoulder to the ground. A bird has been carved next to his right leg, the eagle being one of Jupiter's principal attributes. On the left arm (which has not survived) he must have held the sceptre, the other attribute of this powerful deity of the Roman pantheon (an assimilation of the Greek Zeus). According to the typology of the statue, the figure of a naked god, covered only with a cloak over the left shoulder, the person depicted can only be Zeus/Jupiter or Poseidon/Neptune, but the presence of the eagle leaves no room for doubt.
Stylistically, the strong relationship between Roman and Greek art can be clearly seen. The Roman Empire imported numerous works from Greek workshops, with a clear preference for art of Classical heritage and its idealisation and harmonious, delicate and balanced forms. In fact, throughout the history of Roman art, we can see a "swinging" movement between a greater preference for Roman realism and an approach to idealised Greek classicist art depending on the historical moment in which we are situated and the dynasty of emperors in power, until, from around the 3rd-4th century AD, sculpture evolved towards an idealisation and schematisation of forms that was seen as a response to the influence of the Christian religion and its promise of an eternal afterlife.
Son of Saturn and Ops, he was the supreme deity of the Capitoline Triad, which he formed with his wife Juno and daughter Minerva. Equivalent to the Greek Zeus, his iconographic attributes are the eagle, the thunderbolt and the sceptre of command. His cult, probably of Sabine origin, was introduced in Rome by Numa Pompilius, the second king of Rome, between the end of the 8th century BC and the beginning of the 7th century BC. The largest temple in Rome, built on the Capitoline Hill, was dedicated to his cult, where he was venerated as "Iuppiter Optimus Maximus", protector of the Roman city and state, from whom authority, laws and social order emanate.
9th of May - Archaeology
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