Altar of the Lares – Augustan- Julio Claudian Period- Joe Geranio

Altar of the Laeres- Julio Claudian Period

Altar of the Laeres- Julio Claudian Period

 

Altar of the Lares – Augustan- Julio Claudian Period

Altar of the Lares. In the center, Augustus as augur with the lituus; at left, Gaius or Lucius Caesar; at right, a female member of the imperial family, probably Julia as Venus. She wears a torques, like the princess on the Ara Pacis.

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Ara Pietatis Augustae- Julio Claudian Period- Caligulan/Claudian? Joe Geranio

Ara Pietatis Augustae Flamen and Caligula?

Ara Pietatis Augustae Flamen and Caligula?

Julio-Claudian Reliefs from reign of Claudius, 41-54 CE

Reliefs that have been associated with Ara Pietatis Augustae (Altar of Augustan Piety), Campus Martius, Rome; Kleiner, figs. 118-120.
Processional figures in togas, including flamen, to be identified as Silanus, or Caligula reworked as Claudius; Kleiner, fig. 118:

If you look at the figures on the relief center, you will see a individual with the physiognomy of Gaius Caligula on the left and the figure on the right has the physiognomy of the emperor Claudius?  Kleiner mentions a recut from Caligula reworked or recut to Claudius?  If that is Gaius Caligula on the left, does that date this relief to 37-41 A.D.?  Anytime after his murder it would not make any sense, as there was not an official damnatio memoriae, but there sure was an unofficial one.  Just food for thought? 

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Temple of Mars Ultor Claudian Date- Joe Geranio

Temple of Mars Ultor Claudian Date

Temple of Mars Ultor Claudian Date

Dated sometime to Augustus and even Hadrian, I would suggest the article by F. Albertson AJA (1987):  The well-known Roman historical relief depicting a procession of togate figures in front of a Corinthian decastyle building is reexamined. The Claudian date first proposed by Sieveking is accepted on the basis of stylistic affinities with the “Ara Pietatis” and the dress of the lictors represented on the relief. The background structure is identified as an Augustan building, perhaps the Temple of Mars outside the Porta Capena, but definitely not the Hadrianic Temple of Venus and Roma as most scholars have argued. The composition of the pediment of the structure is discussed in the context of the iconographical development in Roman art of the encounter between Mars and Rhea Silvia.
The dating of the relief has been much debated, and I can see why, you have to deal with archeitecture, iconography, portrait study, and hairtsyle on the figures from the relief.   Not to mention the type of dress on the figure, ie; is the clothing early republic?  Augustan, late Julio Claudian.  It would be worth the study.  
Also see:   

On the Temple of Divus “Augustus”
Duncan Fishwick
Phoenix
Vol. 46, No. 3 (Autumn, 1992), pp. 232-255
(article consists of 24 pages)
An Augustan Temple Represented on a Historical Relief Dating to the Time of Claudius
Fred C. Albertson
American Journal of Archaeology
Vol. 91, No. 3 (Jul., 1987), pp. 441-458
(article consists of 18 pages)
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Algiers Relief with Divus Julius Caesar- Joe Geranio

Algiers Relief

Algiers Relief

Algiers Relief with Divus Julius Caesar- Courtesy Prof. Pollini- Augustan Date

The Algiers Relief with Mars, Venus and Divus Julius………….Algiers Archaeological museum.

(On the Algiers relief Amor is holding Mars’ sword up to Venus!!) The pairing of Venus (presented as the classical Aphrodite type, according to Zanker’s Macht der Bilder5) with Mars, both on the pediment and inside the temple, would have inevitably recalled their illicit love affair immortalized by Homer, regardless of any attempt to shift the focus to their role of ancestors of Augustus.

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A Marble Relief with the Princeps Tiberius- Julio Claudian Dynasty- Joe Geranio

Tiberian Relief

Tiberian Relief

NEW YORK, NY.- Christie’s announced the sale of Antiquities on June 10, which will offer over 150 lots with a stunning selection of Roman marbles, Greek helmets and vases, and Egyptian art. The highlight of the sale is a rare Roman marble relief from the Julio-Claudian period, circa early 1st century A.D., that depicts the Emperor Tiberius standing before a seated Genius with the goddess Concordia between them as intermediary. This outstanding Imperial commission, perhaps from an altar or other civic monument, is superbly sculpted in high relief. Carved with great technical precision the relief combines depth and perspective within the limited thickness of the marble slab. The sculptor of the relief was an artist of importance and considerable skill, one well acquainted with Classical and Hellenistic styles of drapery.

Billed as the biggest highlight of the sale is a rare Roman marble relief from the Julio-Claudian period, circa early 1st century A.D. It depicts the Emperor Tiberius standing before a seated Genius (a manifestation of his divine side) with the goddess Concordia between them as intermediary.   From news.  Private sale.

I hate to see such a rare piece from the Julio Claudian dynasty go to private hands, but I guess I wish I could put it in my front room also.  The only hope is it will be studied and we can see the art historian(s) comments.  It may also be put on display for temporary display.  Anyway, what a wonderful example of Julio Claudian expertise in art!

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Vicomagistri Relief Julio Claudian Period- Joe Geranio

Vicomagistri Relief Julio Clauidan Period

Vicomagistri Relief Julio Clauidan Period

Vicomagistri relief Julio Claudian Period

a relief from a statue base which depicts the Vicomagistri (freedment magistrates associated with the imperial cult) carrying the Lares and genius of the emperor to a sacrifice. Its style is more crowded and the figures less elegant than the reliefs associated with imperial patronage. Probably dates to the early 20s.  The Julio Claudian artsmanship is second to none. 

From the JulioClaudian period there has come down to us no public monument whose whole scheme of sculptural decoration is completely known to us, as in the case of the Ara Pacis. One of the best-preserved reliefs of this time is a long frieze ornamenting one side of what would appear to have been a large base or altar, the reliefs on its other sides being wholly lost, apart from tiny fragments indicating that they once existed. It was found in Rome beneath the Papal Chancellery and shows a procession of city magistrates (vicomagistri) accompanied by ministers (camilli) holding statuettes of the imperial Genius and Lares, sacrificial victims with attendants, musicians, and other male figures. The men and animals are ranged side by side along the field with little overlapping. In parts of the frieze there is a second row of figures carved in low relief on the background and of these the chief stylistic interest lies in the fact that their heads are slightly raised above those of the figures in the foreground, as though the spectator were viewing the procession from a somewhat elevated point of vantage. This device of vertical perspective, which we shall meet with again many times in Roman historical sculpture, has often been hailed as essentially a feature of popular Italian folk, art, which wormed its way into works of public and official sculpture. But normally it is the lower types of art that borrow from the higher, not vice versa; the convention occasionally appears in official Hellenistic sculpture and was probably to be found in monumental Hellenistic paintings, to judge from their apparent reflections in western funerary reliefs of Greek content and in Roman historical scenes of a strongly pictorial character, such as the reliefs with battles of Romans and Gauls on the Tiberian Arch at Orange;’ and when we find it occurring, as here, on an elegant, refined, not to say academic, piece of carving and on works of court inspiration such as the reliefs on Trajan’s Column, it is hard to believe in its Volkskunst origin. Its increasing vogue and development are to be more reasonably explained by the general Roman passion for factual detail, which naturally expressed itself in attempting to display all the participants in an action, including those in the second plane, as fully as possible. Again, the device was at times obviously demanded by aesthetic considerations, when in architectural reliefs such as the Orange panels and the spiral bands on Trajan’s Column, the whole effect depended on filling the entire field with sculpture. There we sometimes find the complete figures of the persons in the second plane tiered above those in the foreground.

The other surviving reliefs which can be dated to the JulioClaudian epoch need not detain us long. A series of parts of processional and sacrificial scenes now built into the Villa Medici on the Pincian Hill, and some fragments with architectural and decorative motifs found on the Via Lata and now in the New Capitoline Museum, may have belonged to the Ara Pietatis begun by Tiberius in AD 22, but completed under Claudius. There is a group of figures, including those of Divus Augustus and Venus, and part of a procession of sacrificial beasts, at Ravenna, also possibly Claudian. Most of these pieces strike us as cold, conventional, and unadventurous. If Nero’s ambitious schemes for new imperial residences (e.g. the Golden House) and for replanning Rome after the fire of 64 left him time for sponsoring buildings with historical reliefs, none have come down to us.

From a flickr member 

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Julio Claudian Family Members Inscription- Joe Geranio

Julio Claudian Inscription

Julio Claudian Inscription

CIL 06, 40307 = AE 1996, 00246

Imp(eratori) Caisari divi f(ilio) / Augusto / pontifici maximo co(n)s(uli) XI / tribunicia potestat(e) XI // Neroni Claudio divi / Claudii f(ilio) / Germanici Caisaris n(epoti) / Ti(beri) Caisaris Aug(usti) pron(epoti) / divi Augusti abn(epoti) / Caisari Aug(usto) Germanico pont(ifici) / max(imo) trib(unicia) potest(ate) II imp(eratori) co(n)s(uli) // Ti(berio) Claudio Drusi f(ilio) / Caisari Augusto / Germanico pontifici / maximo tribunicia pot(estate) / imp(eratori) co(n)s(uli) II // Iuliae Au[gustae] / Agri[ppinae] / Germanic[i Caesaris f(iliae)] / divi Cla[udi uxori] // Aenatores tubicines liticines cornicines Romani/ Romani

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