LaurieAnnie's photos with the keyword: warrior

Marble statue of a fighting Gaul Greek, Late Hellenistic, 2nd or 1st century BC Said to be from Cerveteri, Italy Accession # 08.258.48 This figure can be identified by its trousers as one of the barbarian enemies that the Romans faced on their northern borders. The Celts or Gauls, a diverse array of tribes with a common culture, were settled in much of Europe, and Germanic tribes inhabited the area beyond the Danube and the Rhine. Although all these peoples wore tight-fitting trousers, this figure probably represented a Celt because of the carefully detailed sword belt suspended from his waist, with holes for a metal scabbard at the right side. We know from ancient literary descriptions and the archaeological evidence from tombs that the Celts were especially noted for their use of long cutting swords that hung at their right side from chain belts. The Celts harried the Mediterranean world intermittently from the late fourth century until they were subdued in Gaul by Julius Caesar in the mid-first century BC. Famous statues of the barbarian warriors had been erected by the rulers of the Hellenistic city of Pergamon in western Asia Minor after their victories over invading Gallic tribes in the third century BC. Those statues, preserved in Roman copies, represented the Gauls in the nude in various defensive or defeated poses. This work, which shows a fully dressed fighter in an attacking stance, was perhaps part of a monument commissioned from Greek sculptors by a Roman general who had been victorious in a campaign on the northern frontier. Text from the Metropolitan Museum of Art label.

Marble statue of a fighting Gaul Greek, Late Hellenistic, 2nd or 1st century BC Said to be from Cerveteri, Italy Accession # 08.258.48 This figure can be identified by its trousers as one of the barbarian enemies that the Romans faced on their northern borders. The Celts or Gauls, a diverse array of tribes with a common culture, were settled in much of Europe, and Germanic tribes inhabited the area beyond the Danube and the Rhine. Although all these peoples wore tight-fitting trousers, this figure probably represented a Celt because of the carefully detailed sword belt suspended from his waist, with holes for a metal scabbard at the right side. We know from ancient literary descriptions and the archaeological evidence from tombs that the Celts were especially noted for their use of long cutting swords that hung at their right side from chain belts. The Celts harried the Mediterranean world intermittently from the late fourth century until they were subdued in Gaul by Julius Caesar in the mid-first century BC. Famous statues of the barbarian warriors had been erected by the rulers of the Hellenistic city of Pergamon in western Asia Minor after their victories over invading Gallic tribes in the third century BC. Those statues, preserved in Roman copies, represented the Gauls in the nude in various defensive or defeated poses. This work, which shows a fully dressed fighter in an attacking stance, was perhaps part of a monument commissioned from Greek sculptors by a Roman general who had been victorious in a campaign on the northern frontier. Text from the Metropolitan Museum of Art label.

Marble statue of a fighting Gaul Greek, Late Hellenistic, 2nd or 1st century BC Said to be from Cerveteri, Italy Accession # 08.258.48 This figure can be identified by its trousers as one of the barbarian enemies that the Romans faced on their northern borders. The Celts or Gauls, a diverse array of tribes with a common culture, were settled in much of Europe, and Germanic tribes inhabited the area beyond the Danube and the Rhine. Although all these peoples wore tight-fitting trousers, this figure probably represented a Celt because of the carefully detailed sword belt suspended from his waist, with holes for a metal scabbard at the right side. We know from ancient literary descriptions and the archaeological evidence from tombs that the Celts were especially noted for their use of long cutting swords that hung at their right side from chain belts. The Celts harried the Mediterranean world intermittently from the late fourth century until they were subdued in Gaul by Julius Caesar in the mid-first century BC. Famous statues of the barbarian warriors had been erected by the rulers of the Hellenistic city of Pergamon in western Asia Minor after their victories over invading Gallic tribes in the third century BC. Those statues, preserved in Roman copies, represented the Gauls in the nude in various defensive or defeated poses. This work, which shows a fully dressed fighter in an attacking stance, was perhaps part of a monument commissioned from Greek sculptors by a Roman general who had been victorious in a campaign on the northern frontier. Text from the Metropolitan Museum of Art label.

Statue of a wounded warrior, ca. 138–81 A.D.; Antonine Roman copy of a Greek bronze statue, ca. 460–450 B.C. Marble; H. 87 in. (220.98 cm) Hewitt Fund, 1925 (25.116) This young warrior, a little over lifesize, stands on a slanting base and leans slightly backward as if to gain momentum for throwing a spear. On the left arm, he once carried a shield of which only the central strap is preserved; it must have been of bronze, for the dowel hole is too small for the support of a heavy marble shield. In the raised right hand, he evidently held a spear, also of bronze, as indicated by the preserved portion of the hand and the glance of the eyes (the iris and pupil are incised). He is nude, except for a mantle that hangs over his left shoulder. On his head is a Corinthian helmet with the strips of the leather lining visible on the sides. This statue is a Roman copy of a Greek bronze original that would not have needed the curving tree trunk support that connects the plinth and left leg. Though this support must have been an addition made by the Roman copyist, it is noteworthy that the sword suspended from it is of a Greek type. The rendering of the hair as close-lying ringlets, the simplified planes of the body, the strongly marked eyelids, the quasi-parallel folds of drapery, and the complicated pose in momentary action, all point to a date around or a little before the mid-fifth century B.C. for the Greek original. The original statue, which must have been an outstanding work of its period, may have represented the Greek hero Protesilaos, who ignored an oracle's warning that the first Greek to step on Trojan soil would be the first to die in battle. The plinth of a second Roman copy in the British Museum, London, has a planklike form surrounded by waves, suggesting the statue might represent Protesilaos descending from his ship, ready to meet his fate. However, the Museum's statue was reinterpreted as a dying warrior falling backward, following the discovery of a wound carved in the right armpit. The Roman writer Pliny mentioned a so-called vulneratus deficiens ("falling warrior") as being among the works of the Greek sculptor Kresilas. Other identifications have been suggested to explain the unusual stance and the unique iconography of this statue and of the copy in London, but none has been generally accepted. Text from: www.metmuseum.org/TOAH/HD/gwar/hod_25.116.htm

Statue of a wounded warrior, ca. 138–81 A.D.; Antonine Roman copy of a Greek bronze statue, ca. 460–450 B.C. Marble; H. 87 in. (220.98 cm) Hewitt Fund, 1925 (25.116) This young warrior, a little over lifesize, stands on a slanting base and leans slightly backward as if to gain momentum for throwing a spear. On the left arm, he once carried a shield of which only the central strap is preserved; it must have been of bronze, for the dowel hole is too small for the support of a heavy marble shield. In the raised right hand, he evidently held a spear, also of bronze, as indicated by the preserved portion of the hand and the glance of the eyes (the iris and pupil are incised). He is nude, except for a mantle that hangs over his left shoulder. On his head is a Corinthian helmet with the strips of the leather lining visible on the sides. This statue is a Roman copy of a Greek bronze original that would not have needed the curving tree trunk support that connects the plinth and left leg. Though this support must have been an addition made by the Roman copyist, it is noteworthy that the sword suspended from it is of a Greek type. The rendering of the hair as close-lying ringlets, the simplified planes of the body, the strongly marked eyelids, the quasi-parallel folds of drapery, and the complicated pose in momentary action, all point to a date around or a little before the mid-fifth century B.C. for the Greek original. The original statue, which must have been an outstanding work of its period, may have represented the Greek hero Protesilaos, who ignored an oracle's warning that the first Greek to step on Trojan soil would be the first to die in battle. The plinth of a second Roman copy in the British Museum, London, has a planklike form surrounded by waves, suggesting the statue might represent Protesilaos descending from his ship, ready to meet his fate. However, the Museum's statue was reinterpreted as a dying warrior falling backward, following the discovery of a wound carved in the right armpit. The Roman writer Pliny mentioned a so-called vulneratus deficiens ("falling warrior") as being among the works of the Greek sculptor Kresilas. Other identifications have been suggested to explain the unusual stance and the unique iconography of this statue and of the copy in London, but none has been generally accepted. Text from: www.metmuseum.org/TOAH/HD/gwar/hod_25.116.htm

Statue of a wounded warrior, ca. 138–81 A.D.; Antonine Roman copy of a Greek bronze statue, ca. 460–450 B.C. Marble; H. 87 in. (220.98 cm) Hewitt Fund, 1925 (25.116) This young warrior, a little over lifesize, stands on a slanting base and leans slightly backward as if to gain momentum for throwing a spear. On the left arm, he once carried a shield of which only the central strap is preserved; it must have been of bronze, for the dowel hole is too small for the support of a heavy marble shield. In the raised right hand, he evidently held a spear, also of bronze, as indicated by the preserved portion of the hand and the glance of the eyes (the iris and pupil are incised). He is nude, except for a mantle that hangs over his left shoulder. On his head is a Corinthian helmet with the strips of the leather lining visible on the sides. This statue is a Roman copy of a Greek bronze original that would not have needed the curving tree trunk support that connects the plinth and left leg. Though this support must have been an addition made by the Roman copyist, it is noteworthy that the sword suspended from it is of a Greek type. The rendering of the hair as close-lying ringlets, the simplified planes of the body, the strongly marked eyelids, the quasi-parallel folds of drapery, and the complicated pose in momentary action, all point to a date around or a little before the mid-fifth century B.C. for the Greek original. The original statue, which must have been an outstanding work of its period, may have represented the Greek hero Protesilaos, who ignored an oracle's warning that the first Greek to step on Trojan soil would be the first to die in battle. The plinth of a second Roman copy in the British Museum, London, has a planklike form surrounded by waves, suggesting the statue might represent Protesilaos descending from his ship, ready to meet his fate. However, the Museum's statue was reinterpreted as a dying warrior falling backward, following the discovery of a wound carved in the right armpit. The Roman writer Pliny mentioned a so-called vulneratus deficiens ("falling warrior") as being among the works of the Greek sculptor Kresilas. Other identifications have been suggested to explain the unusual stance and the unique iconography of this statue and of the copy in London, but none has been generally accepted. Text from: www.metmuseum.org/TOAH/HD/gwar/hod_25.116.htm

Statue of a wounded warrior, ca. 138–81 A.D.; Antonine Roman copy of a Greek bronze statue, ca. 460–450 B.C. Marble; H. 87 in. (220.98 cm) Hewitt Fund, 1925 (25.116) This young warrior, a little over lifesize, stands on a slanting base and leans slightly backward as if to gain momentum for throwing a spear. On the left arm, he once carried a shield of which only the central strap is preserved; it must have been of bronze, for the dowel hole is too small for the support of a heavy marble shield. In the raised right hand, he evidently held a spear, also of bronze, as indicated by the preserved portion of the hand and the glance of the eyes (the iris and pupil are incised). He is nude, except for a mantle that hangs over his left shoulder. On his head is a Corinthian helmet with the strips of the leather lining visible on the sides. This statue is a Roman copy of a Greek bronze original that would not have needed the curving tree trunk support that connects the plinth and left leg. Though this support must have been an addition made by the Roman copyist, it is noteworthy that the sword suspended from it is of a Greek type. The rendering of the hair as close-lying ringlets, the simplified planes of the body, the strongly marked eyelids, the quasi-parallel folds of drapery, and the complicated pose in momentary action, all point to a date around or a little before the mid-fifth century B.C. for the Greek original. The original statue, which must have been an outstanding work of its period, may have represented the Greek hero Protesilaos, who ignored an oracle's warning that the first Greek to step on Trojan soil would be the first to die in battle. The plinth of a second Roman copy in the British Museum, London, has a planklike form surrounded by waves, suggesting the statue might represent Protesilaos descending from his ship, ready to meet his fate. However, the Museum's statue was reinterpreted as a dying warrior falling backward, following the discovery of a wound carved in the right armpit. The Roman writer Pliny mentioned a so-called vulneratus deficiens ("falling warrior") as being among the works of the Greek sculptor Kresilas. Other identifications have been suggested to explain the unusual stance and the unique iconography of this statue and of the copy in London, but none has been generally accepted. Text from: www.metmuseum.org/TOAH/HD/gwar/hod_25.116.htm

Bronze finial of two warriors from a candelabrum Period: Archaic Date: ca. 480–470 B.C. Culture: Etruscan Medium: Bronze Dimensions: H. (with base) 5 1/4 in. (13.3 cm) Classification: Bronzes Credit Line: Rogers Fund, 1947 Accession Number: 47.11.3 Description: This finial, which originally decorated the top of a tall candelabrum, is an excellent example of Early Classical sculpture. A bearded warrior wearing a full panoply of armor assists his younger, beardless comrade, who has sustained a wound to his left leg or foot and is supported by the spear he once held in his right hand and by his friend's shoulder. Text from: www.metmuseum.org/Collections/search-the-collections/1300...