The famous Elvis Sarcophagus ca. AD 210 (Imperial). This particular Roman sculpture bears a close resemblance to Elvis. With his dashing chiseled features, swept back hair and perky bouffant the resemblance is unmistakable.
The Walters Art Museum, located in Baltimore, Maryland's Mount Vernon neighborhood, is a public art museum founded in 1934. The museum's collection was amassed substantially by two men, William Thompson Walters (1819–1894), who began serious collecting when he moved to Paris at the outbreak of the American Civil War. His private collection became one of the largest and most valuable in the United States. And his son Henry Walters (1848–1931), who refined the collection and rehoused it in a palazzo building on Charles Street which opened in 1909. Upon his death, Henry Walters bequeathed the collection of over 22,000 works and the original Charles Street palazzo building to the city of Baltimore, “for the benefit of the public.” The collection touches masterworks of ancient Egypt, Greek sculpture and Roman sarcophagi, medieval ivories, illuminated manuscripts, Renaissance bronzes, Old Master and 19th-century paintings, Chinese ceramics and bronzes, and Art Deco jewelry.
Sarcophagus with the Triumph of Dionysus ca. 190 (Imperial)
The triumphal march of Dionysus (or Bacchus, as he was generally known in Rome) through the lands of India was equated in Roman thought with the triumph of the deceased over death. At the left, Dionysus rides in a chariot pulled by panthers. Preceding him is a procession of his followers and exotic animals, including lions, elephants, and even a giraffe. A bird's nest is concealed in the tree at the far right; on the same tree a snake is pursuing a lizard. Many of the animals depicted had special significance in the mystery cult of Dionysus Sabazius. On the lid is the birth of Dionysus and his reception by nymphs, shown between satyr heads (on the ends), one smiling and one frowning. The enormous attention to detail on this sarcophagus exemplifies the talents of the best Roman relief carvers.
Sarcophagus with the Triumph of Dionysus ca. 190 (Imperial)
The triumphal march of Dionysus (or Bacchus, as he was generally known in Rome) through the lands of India was equated in Roman thought with the triumph of the deceased over death. At the left, Dionysus rides in a chariot pulled by panthers. Preceding him is a procession of his followers and exotic animals, including lions, elephants, and even a giraffe. A bird's nest is concealed in the tree at the far right; on the same tree a snake is pursuing a lizard. Many of the animals depicted had special significance in the mystery cult of Dionysus Sabazius. On the lid is the birth of Dionysus and his reception by nymphs, shown between satyr heads (on the ends), one smiling and one frowning. The enormous attention to detail on this sarcophagus exemplifies the talents of the best Roman relief carvers.
On the lid is the birth of Dionysus and his reception by nymphs, shown between satyr heads (on the ends), one smiling and one frowning.
On the lid is the birth of Dionysus and his reception by nymphs, shown between satyr heads (on the ends), one smiling and one frowning.
Sarcophagus with Dionysus and Ariadne 190-200 (Imperial)
Carved in high relief, Dionysus approaches the sleeping Ariadne on the island of Naxos where Theseus, whom she had rescued from the Minotaur's labyrinth, had abandoned her. He is surrounded by his attendants, including satyrs, maenads, and multiple figures of the half-man, half-goat deity Pan. To the right, beside the sea (indicated by waves and a small dolphin below), Ariadne lies with her head in the lap of Thanatos, god of death. Eros draws Dionysus (panther at his feet) towards the maiden, who will be released from her death-like state and marry him. Dionysus's ability to overcome death makes this appropriate imagery for a sarcophagus. Although the faces of Dionysus and the satyr to his left have unfortunately been destroyed, the brilliance of the carving, the tall, thin proportions of the figures, and the complexity of the composition reveal this work as a masterpiece of the late 2nd century. Like several of the other sarcophagi here, this
Sarcophagus with Dionysus and Ariadne 190-200 (Imperial)
Carved in high relief, Dionysus approaches the sleeping Ariadne on the island of Naxos where Theseus, whom she had rescued from the Minotaur's labyrinth, had abandoned her. He is surrounded by his attendants, including satyrs, maenads, and multiple figures of the half-man, half-goat deity Pan. To the right, beside the sea (indicated by waves and a small dolphin below), Ariadne lies with her head in the lap of Thanatos, god of death. Eros draws Dionysus (panther at his feet) towards the maiden, who will be released from her death-like state and marry him. Dionysus's ability to overcome death makes this appropriate imagery for a sarcophagus. Although the faces of Dionysus and the satyr to his left have unfortunately been destroyed, the brilliance of the carving, the tall, thin proportions of the figures, and the complexity of the composition reveal this work as a masterpiece of the late 2nd century. Like several of the other sarcophagi here, this
Sarcophagus with Dionysus and Ariadne 190-200 (Imperial)
Carved in high relief, Dionysus approaches the sleeping Ariadne on the island of Naxos where Theseus, whom she had rescued from the Minotaur's labyrinth, had abandoned her. He is surrounded by his attendants, including satyrs, maenads, and multiple figures of the half-man, half-goat deity Pan. To the right, beside the sea (indicated by waves and a small dolphin below), Ariadne lies with her head in the lap of Thanatos, god of death. Eros draws Dionysus (panther at his feet) towards the maiden, who will be released from her death-like state and marry him. Dionysus's ability to overcome death makes this appropriate imagery for a sarcophagus. Although the faces of Dionysus and the satyr to his left have unfortunately been destroyed, the brilliance of the carving, the tall, thin proportions of the figures, and the complexity of the composition reveal this work as a masterpiece of the late 2nd century. Like several of the other sarcophagi here, this
Sarcophagus with Dionysus and Ariadne 190-200 (Imperial)
Carved in high relief, Dionysus approaches the sleeping Ariadne on the island of Naxos where Theseus, whom she had rescued from the Minotaur's labyrinth, had abandoned her. He is surrounded by his attendants, including satyrs, maenads, and multiple figures of the half-man, half-goat deity Pan. To the right, beside the sea (indicated by waves and a small dolphin below), Ariadne lies with her head in the lap of Thanatos, god of death. Eros draws Dionysus (panther at his feet) towards the maiden, who will be released from her death-like state and marry him. Dionysus's ability to overcome death makes this appropriate imagery for a sarcophagus. Although the faces of Dionysus and the satyr to his left have unfortunately been destroyed, the brilliance of the carving, the tall, thin proportions of the figures, and the complexity of the composition reveal this work as a masterpiece of the late 2nd century. Like several of the other sarcophagi here, this
Sarcophagus with Dionysus and Ariadne 190-200 (Imperial)
Carved in high relief, Dionysus approaches the sleeping Ariadne on the island of Naxos where Theseus, whom she had rescued from the Minotaur's labyrinth, had abandoned her. He is surrounded by his attendants, including satyrs, maenads, and multiple figures of the half-man, half-goat deity Pan. To the right, beside the sea (indicated by waves and a small dolphin below), Ariadne lies with her head in the lap of Thanatos, god of death. Eros draws Dionysus (panther at his feet) towards the maiden, who will be released from her death-like state and marry him. Dionysus's ability to overcome death makes this appropriate imagery for a sarcophagus. Although the faces of Dionysus and the satyr to his left have unfortunately been destroyed, the brilliance of the carving, the tall, thin proportions of the figures, and the complexity of the composition reveal this work as a masterpiece of the late 2nd century. Like several of the other sarcophagi here, this
Sarcophagus with Victories ca. AD 210 (Imperial)
The scene on the front of this sarcophagus, carved in high relief, shows two figures of Victory holding standards and flanking a large shield decorated with a Gorgon's head. As is typical in Roman illustrations of triumphs, figures representing vanquished barbarian prisoners are seated below the central shield. Both prisoners are female; the one on the right appears lost in grief, while the figure on the left sits proudly with her head raised. Towards the corners, large Eros figures carry garlands of laurel. Across the front of the lid, winged Eros figures imitate the central scene below, while others erect a trophy from captured armor. The symbolism of the whole celebrates the victory of life over death.
large shield decorated with a Gorgon's head.
Sarcophagus with Victories ca. AD 210 (Imperial)
The scene on the front of this sarcophagus, carved in high relief, shows two figures of Victory holding standards and flanking a large shield decorated with a Gorgon's head. As is typical in Roman illustrations of triumphs, figures representing vanquished barbarian prisoners are seated below the central shield. Both prisoners are female; the one on the right appears lost in grief, while the figure on the left sits proudly with her head raised. Towards the corners, large Eros figures carry garlands of laurel. Across the front of the lid, winged Eros figures imitate the central scene below, while others erect a trophy from captured armor. The symbolism of the whole celebrates the victory of life over death.
Sarcophagus with Victories ca. AD 210 (Imperial)
The scene on the front of this sarcophagus, carved in high relief, shows two figures of Victory holding standards and flanking a large shield decorated with a Gorgon's head. As is typical in Roman illustrations of triumphs, figures representing vanquished barbarian prisoners are seated below the central shield. Both prisoners are female; the one on the right appears lost in grief, while the figure on the left sits proudly with her head raised. Towards the corners, large Eros figures carry garlands of laurel. Across the front of the lid, winged Eros figures imitate the central scene below, while others erect a trophy from captured armor. The symbolism of the whole celebrates the victory of life over death.
Sarcophagus with Victories ca. AD 210 (Imperial)
The scene on the front of this sarcophagus, carved in high relief, shows two figures of Victory holding standards and flanking a large shield decorated with a Gorgon's head. As is typical in Roman illustrations of triumphs, figures representing vanquished barbarian prisoners are seated below the central shield. Both prisoners are female; the one on the right appears lost in grief, while the figure on the left sits proudly with her head raised. Towards the corners, large Eros figures carry garlands of laurel. Across the front of the lid, winged Eros figures imitate the central scene below, while others erect a trophy from captured armor. The symbolism of the whole celebrates the victory of life over death.
The famous Elvis Sarcophagus ca. AD 210 (Imperial). This particular Roman sculpture bears a close resemblance to Elvis. With his dashing chiseled features, swept back hair and perky bouffant the resemblance is unmistakable.
Sarcophagus Depicting Castor and Pollux Seizing the Daughters of Leucippus ca. 160 (Imperial)
Large satyr heads flank the scene, as they do on several of the other sarcophagi displayed here.
Sarcophagus Depicting Castor and Pollux Seizing the Daughters of Leucippus ca. 160 (Imperial)
Depicted in high relief, the twins Castor and Pollux, known as the Dioscuri ("sons of Zeus"), abducted and later married the daughters of King Leucippus. Here, the brothers seize the maidens amid a scene of confusion. On the ends, the Dioscuri carry off the women in their chariots. The Romans believed that the abduction of these mortal women by the twins represented the transition of the deceased from the human realm to that of the divine immortals. The violence of the front scene is echoed by the figures on the lid, where Victories sacrifice bulls on either side of a vase-like cult object. Large satyr heads flank the scene, as they do on several of the other sarcophagi displayed here.
Portrait of the Emperor Marcus Aurelius
This masterful portrait of Marcus Aurelius (reigned AD 161-180) captures the pensive temperament of the philosopher-emperor and author of the celebrated "Meditations," reflections on life and the ways of the gods. The smooth, softly modeled carving of the flesh contrasts markedly with the mass of thick, curling hair. The drooping eyelids and detached gaze suggest his contemplative nature.
Sarcophagus with Griffins 140-170 (Imperial)
Carved in relief on this sarcophagus, panther-griffins face one another, each raising a paw towards a central vase-like object used in the cult of Dionysus Sabazius. The motif is well known from imperial temples, where it appears as a symbol of deification and ascension to heaven. This imperial allusion reflects the high aspirations of the family to whom the tomb belongs. Along the lid, Eros figures ride fantastical sea-creatures.
Portrait of a Man
The position of the head and the tousled locks of hair date this animated portrait to the late Antonine period. The style of carving has created a play of light and shadow. The lengthening of the bust to include the chest, rendered here as a flat, vertical surface, is also typical of the period.
Portrait of a Man
This bust was probably carved several decades after the reign of Emperor Caracalla (reigned AD 211-17) and bears many similarities to that emperor's portrait type, which had an enormous influence on the private portraiture of the following generation. Caracalla's later portraits have animated expressions, and the head is often turned to his right, giving the impression of movement. This example imitates the emperor's image but has the individual's own distinct features. (The nose and ears are restored.)
Garland Sarcophagus 150-180 (Imperial)
Unlike many sarcophagi, this one is carved on all four sides in high relief. Garlands held by winged goddesses or personifications on the corners and Eros (Cupid) figures on the sides support the busts of a crowned deity (left) and a young girl (right). The sarcophagus was probably intended for her. In the center, on both the front and back, is a theatrical mask-on this side Tragedy, on the other, Comedy. Medusa heads decorate the ends. The lid takes the form of a temple roof with a pediment (triangular gable) at each end. This sarcophagus can be traced to a particular workshop active near the ancient quarry of Dokimeion in Phrygia in Asia Minor. Its discovery in Rome illustrates the long-distance trade in even very large, heavy luxury goods that took place at the height of the Roman Empire.
Sarcophagus Depicting Castor and Pollux Seizing the Daughters of Leucippus ca. 160 (Imperial)
Large satyr heads flank the scene, as they do on several of the other sarcophagi displayed here.
Sarcophagus Depicting Castor and Pollux Seizing the Daughters of Leucippus ca. 160 (Imperial)
Large satyr heads flank the scene, as they do on several of the other sarcophagi displayed here.
Satyr Pouring Wine Original: ca. 370-360 BC; Roman copy: 1st century BC-AD 1st century (Classical-Roman)
The satyr exemplifies the carefree world of Dionysus, god of wine. The original statue, now lost, was by the celebrated artist Praxiteles. The goat-eared satyr pours from a jug that was held in his upraised right hand into a shallow dish he held below. The sinuous curves and unmuscled adolescent body are hallmarks of Praxiteles' most celebrated works, as are the grace and charm of the subject.
Satyr Pouring Wine Original: ca. 370-360 BC; Roman copy: 1st century BC-AD 1st century (Classical-Roman)
The satyr exemplifies the carefree world of Dionysus, god of wine. The original statue, now lost, was by the celebrated artist Praxiteles. The goat-eared satyr pours from a jug that was held in his upraised right hand into a shallow dish he held below. The sinuous curves and unmuscled adolescent body are hallmarks of Praxiteles' most celebrated works, as are the grace and charm of the subject.
Red-Figure Volute Krater mid 4th century BC (Classical)
The central scene depicts the deceased as a warrior in a "naiskos" (small temple) with a young servant by his side. Male and female figures on either side of the temple carry various items like wreaths, vases, and dishes with branches or food as offerings for the deceased. The opposite side shows a similar scene with four offering bearers, but the temple is replaced by a grave stele. Like the large volute "krater" by the Baltimore Painter (48.86), this vase is typical of the ornate style of Apulian vase painting- with multi-figured funerary scenes and intricate decoration. This "krater" has been attributed to a well-known painter named after a vase in Copenhagen (inv. no. 4223)..
Torso of the Diadoumenos Original: ca. 430 BC; Roman copy: 1st century BC-AD 4th century (Classical-Roman)
This powerful torso was part of a copy of the "Diadoumenos," a Greek statue by the famous master sculptor Polykleitos that has not survived. The original depicted a youthful nude athlete with both arms raised to tie a ribbon, the prize of athletic victory, around his head. The statue was much admired for the skillful representation of the musculature of the chest and the naturalistic and supple pose.
Red-Figure Rhyton ca. 450 BC (Classical)
In ancient times, wine was thought to bring out the wild side of people, temporarily freeing them from the rules and structure of civilized life. This "rhyton," a drinking cup, is formed of two animals' heads: the left half a ram and the right half a donkey. Double-faced vases like this one evoked characteristics viewed as polar opposites. Rams were prized for religious sacrifices, while donkeys, symbols of potent sexuality, were never sacrificed because their flesh was too tough. Around the neck of the cub is a scene of satyrs cavorting.
Alexander the Great
Starting from his base in Macedon in northern Greece, Alexander conquered the Persian Empire in 331 BC and went on to forge an empire that ultimately stretched to India. He founded the city of Alexandria in that same year. His charismatic personality, his premature death at the age of 33, and his idealistic vision of a world unified through Greek culture led him to be associated with heroic figures such as Heracles, men who through their deeds were believed to have become gods. For centuries afterward, Alexander was honored as a god and as the ideal monarch. Portraits of Alexander the Great emphasize his heroic character. The classically youthful face, the anastole (an arrangement of hair upswept from the brow), the long wavy locks, and the hole in the crown for the insertion of a star (a symbol of his deification) identify this work as a portrait of the ruler. The Roman date is indicated by the deep grooves in the hair and the artist's rendering of the folds of the mantle as drilled channels.
Red-Figure Bell Krater ca. 440 BC (Classical)
The wine-god Dionysus appears often on vases of this shape (called a bell "krater"), which held wine for drinking parties. He is usually shown as a bearded and majestic god. Here, Dionysus holds a "thyrsus" (a pole often twined with ivy and grapevines and topped with a pine cone) in one hand and a "kantharos" (a high-handled drinking cup) in the other. He turns his head to gaze at a maenad who follows, while a satyr playing the double flutes leads the procession. The maenad carries an "oinochoe" (a wine jug) and a lighted torch, indicating that the group's journey takes place at night.
Pair of Bracelets with Antelope-Heads 4th century BC (Classical)
Penannular bracelets with animal-head terminals first developed in Achaemenid art and became popular in Greece during the 5th century. The hoops are more ovoid than circular, complementing the shape of the wrist; some are of solid gold, others, like this pair, are folded and twisted hollow tubes. Lion heads are the most common motifs in these bracelets, but antelope heads and, during the Hellenistic period, hound and lynx heads appear as well. Although such bracelets were also worn by men, this intricate pair likely belonged to a woman; the two bracelets were reportedly found along with distinctively feminine jewelry, now in the Metropolitan Museum of Art, New York.
Bracelets from the Olbia Treasure Elements: late 2nd century BC; Setting: 1st century BC (Greco-Roman)
This outstanding example of jewelry from the 1st-century-BC Greek colonies in the Black Sea region is purported to belong to the famed Olbia treasure, named for the town in present-day Ukraine in which it was discovered at the end of the 19th century. Whether the bracelets, necklaces, earrings, dress ornaments, and other items in the Walters' collection really came from the same tomb remains unclear. These impressive bracelets have a centerpiece linked by hinges to the two arms. Each bracelet can be closed with a pin that runs through intertwining hoops. The lavish embellishment includes granulation, cloisonné work, and beading as well as multicolored enamel and gemstone inlays in various settings. Using multiple colors and sizes of gemstones became common in Greek jewelry making after the conquest of the East by Alexander the Great (356-323 BC), which opened up new trade routes and introduced the Greeks to Oriental styles.
From a tomb near Olbia, Ukraine (?); Peter Mavrogordato, 1913; F.L. von Gans, Frankfort; Galerie Bachstitz, The Hague; Henry Walters, Baltimore, 1921, by purchase; Walters Art Museum, 1931, by bequest.
Acquired by Henry Walters, 1921
From a tomb near Olbia, Ukraine (?); Peter Mavrogordato, 1913; F.L. von Gans, Frankfort; Galerie Bachstitz, The Hague; Henry Walters, Baltimore, 1921, by purchase; Walters Art Museum, 1931, by bequest.
Acquired by Henry Walters, 1921
Black-figure Belly Amphora with the Reclamation of Helen and Herakles and Kerberos 540-530 BC (Archaic)
In another of his labors, Herakles has returned from the underworld with Kerberos, the multi-headed dog who guards its entrance, while the messenger-god Hermes leads the way, with two women looking on. On the back, a warrior draws his sword on a modestly veiled woman in the presence of two onlookers; this scene has been identified as Menelaos' recovery of Helen after the capture of Troy.
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