The lorica segmentata, also called lorica lamminata, or banded armour is a type of personal armour that was used by soldiers of the Roman army, consisting of metal strips fashioned into circular bands, fastened to internal leather straps.
In Greek mythology, an Amazonomachy is a mythological battle between the ancient Greeks and the Amazons, a nation of all-female warriors. The subject of Amazonomachies was popular in ancient Greek art and Roman art.
Polykleitos was an ancient Greek sculptor, active in the 5th century BCE. Alongside the Athenian sculptors Pheidias, Myron and Praxiteles, he is considered as one of the most important sculptors of classical antiquity. The 4th century BCE catalogue attributed to Xenocrates, which was Pliny's guide in matters of art, ranked him between Pheidias and Myron. He is particularly known for his lost treatise, the Canon of Polykleitos, which set out his mathematical basis of an idealised male body shape.
A cuirass is a piece of armour that covers the torso, formed of one or more pieces of metal or other rigid material. The word probably originates from the original material, leather, from the French cuirace and Latin word coriacea. The use of the term "cuirass" generally refers to both the breastplate and the backplate pieces; whereas a breastplate only protects the front, a cuirass protects both the front and the back of the wearer.
In the material culture of classical antiquity, a patera or phiale is a shallow ceramic or metal libation bowl. It often has a bulbous indentation in the center underside to facilitate holding it, in which case it is sometimes called a mesomphalic phiale. It typically has no handles, and no feet.
The Doryphoros of Polykleitos is one of the best known Greek sculptures of Classical antiquity, depicting a solidly built, muscular, standing warrior, originally bearing a spear balanced on his left shoulder. Rendered somewhat above life-size, the lost bronze original of the work would have been cast circa 440 BC, but it is today known only from later marble copies. The work nonetheless forms an important early example of both Classical Greek contrapposto and classical realism; as such, the iconic Doryphoros proved highly influential elsewhere in ancient art.
A breastplate or chestplate is a device worn over the torso to protect it from injury, as an item of religious significance, or as an item of status.
The lorica hamata is a type of mail armor used by soldiers for over 600 years from the Roman Republic to the Roman Empire. Lorica hamata comes from the Latin hamatus (hooked) from hamus which means "hook", as the rings hook into one another.
Scale armour is an early form of armour consisting of many individual small armour scales (plates) of various shapes attached to each other and to a backing of cloth or leather in overlapping rows. Scale armour was worn by warriors of many different cultures as well as their horses. The material used to make the scales varied and included bronze, iron, steel, rawhide, leather, cuir bouilli, seeds, horn, or pangolin scales. The variations are primarily the result of material availability.
A manica or cheires by the Greeks was a type of iron or bronze arm guard, with curved and overlapping metal segments or plates, fastened to leather straps, worn by Roman gladiators called crupellarii, and later optionally by soldiers.
Classical sculpture refers generally to sculpture from Ancient Greece and Ancient Rome, as well as the Hellenized and Romanized civilizations under their rule or influence, from about 500 BC to around 200 AD. It may also refer more precisely a period within Ancient Greek sculpture from around 500 BC to the onset of the Hellenistic style around 323 BC, in this case usually given a capital "C". The term "classical" is also widely used for a stylistic tendency in later sculpture, not restricted to works in a Neoclassical or classical style.
Roman military personal equipment was produced in large numbers to established patterns, and used in an established manner. These standard patterns and uses were called the res militaris or disciplina. Its regular practice during the Roman Republic and Roman Empire led to military excellence and victory. The equipment gave the Romans a very distinct advantage over their barbarian enemies, especially so in the case of armour. This does not mean that every Roman soldier had better equipment than the richer men among his opponents. Roman equipment was not of a better quality than that used by the majority of Rome's adversaries. Other historians and writers have stated that the Roman army's need for large quantities of "mass produced" equipment after the so-called "Marian Reforms" and subsequent civil wars led to a decline in the quality of Roman equipment compared to the earlier Republican era:
The production of these kinds of helmets of Italic tradition decreased in quality because of the demands of equipping huge armies, especially during civil wars...The bad quality of these helmets is recorded by the sources describing how sometimes they were covered by wicker protections, like those of Pompeius' soldiers during the siege of Dyrrachium in 48 BC, which were seriously damaged by the missiles of Caesar's slingers and archers.
It would appear that armour quality suffered at times when mass production methods were being used to meet the increased demand which was very high the reduced size cuirasses would also have been quicker and cheaper to produce, which may have been a deciding factor at times of financial crisis, or where large bodies of men were required to be mobilized at short notice, possibly reflected in the poor-quality, mass produced iron helmets of Imperial Italic type C, as found, for example, in the River Po at Cremona, associated with the Civil Wars of AD 69 AD; Russell Robinson, 1975, 67
Up until then, the quality of helmets had been fairly consistent and the bowls well decorated and finished. However, after the Marian Reforms, with their resultant influx of the poorest citizens into the army, there must inevitably have been a massive demand for cheaper equipment, a situation which can only have been exacerbated by the Civil Wars...
The linothorax is a type of upper body armor that was used throughout the ancient Mediterranean world. The term linothorax is a modern term based on the Greek λινοθώραξ, which means "wearing a breastplate of linen"; A number of ancient Greek and Latin texts from the 6th century BC to the third century AD mention θώρακες λίνεοι (Greek) or loricae linteae (Latin) which means 'linen body armour'. These are usually equated with some of the armours showed in sculptures and paintings from Italy and Greece from 575 BCE onwards. Very little is known about how ancient linen armour was made. Linen armour in other cultures was usually quilted and stuffed with loose fibre or stitched together many layers thick, but it could also have been made with a special weave called twining which creates a thick, tough fabric. The theory that it was made of layers of linen glued together comes from a mistranslation of a summary of a description of medieval armour in 1869.
The Augustus of Prima Porta is a full-length portrait statue of Augustus, the first Roman emperor.
In Ancient Greece, the Gorgoneion was a special apotropaic amulet showing the Gorgon head, used by the Olympian deities Athena and Zeus: both are said to have worn the gorgoneion as a protective pendant, and often are depicted wearing it. It established their descent from earlier deities considered to remain powerful. Among other attributes, it was assumed by rulers of the Hellenistic age as a royal aegis to imply divine birth or protection, as shown, for instance, on the Alexander Mosaic and the Gonzaga Cameo.
The Archaeological Museum of Eretria is a museum in Eretria, in the Euboea regional unit of Central Greece.
The legions of the Roman Republic and Empire had a fairly standardised dress and armour, particularly from approximately the early to mid 1st century onward, when Lorica Segmentata was introduced. However the lack of unified production for the Roman army meant that there were still considerable differences in detail. Even the armour produced in state factories varied according to the province of origin.
An artistic canon of body proportions, in the sphere of visual arts, is a formally codified set of criteria deemed mandatory for a particular artistic style of figurative art. The word canon was first used for this type of rule in Classical Greece, where it set a reference standard for body proportions, to produce a harmoniously formed figure appropriate to depict gods or kings. Other art styles have similar rules that apply particularly to the representation of royal or divine personalities.
Roman portraiture was one of the most significant periods in the development of portrait art. The surviving portraits of individuals are almost entirely sculptures, covering a period of almost five centuries. Roman portraiture is characterised by unusual realism and the desire to convey images of nature in the high quality style often seen in ancient Roman art. Some busts even seem to show clinical signs. Several images and statues made in marble and bronze have survived in small numbers. Roman funerary art includes many portraits such as married couple funerary reliefs, which were most often made for wealthy freedmen rather than the patrician elite.
Classical Greek sculpture has long been regarded as the highest point in the development of sculptural art in Ancient Greece, becoming almost synonymous with "Greek sculpture". The Canon, a treatise on the proportions of the human body written by Polykleitos around 450 B.C., is generally considered its starting point, and its end marked with the conquest of Greece by the Macedonians in 338 B.C., when Greek art began a great diffusion to the East, from where it received influences, changed its character, and became cosmopolitan. This phase is known as the Hellenistic period. In this period, the tradition of Greek Classicism was consolidated, with Man being the new measure of the universe.
