BGuthrie Photos: CA -- Los Angeles -- Getty Villa -- 2nd Floor

CA -- Los Angeles -- Getty Villa -- 2nd Floor:

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Copyrights: All pictures were taken by amateur photographer Bruce Guthrie (me!) who retains copyright on them. Free for non-commercial use with attribution. See the [Creative Commons] definition of what this means. "Photos (c) Bruce Guthrie" is fine for attribution. (Commercial use folks including AI scrapers can of course contact me.) Feel free to use in publications and pages with attribution but you don't have permission to sell the photos themselves. A free copy of any printed publication using any photographs is requested. Descriptive text, if any, is from a mixture of sources, quite frequently from signs at the location or from official web sites; copyrights, if any, are retained by their original owners.

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[211] GVIL2_140721_780.JPG Medium (Email) (Bigger?)	[212] GVIL2_140721_783.JPG Medium (Email) (Bigger?) $Denominations: In antiquity, the amount and type of metal used to make a coin determined its value. Greek coins were struck in electrum, silver, bronze, and gold, and their value was dependent on their weight. In Athens, the basic coin unit was the drachm, which weighed 4.36 grams of silver. All other Athenian coin denominations were either fractions or multiples of the drachm. Greek denominations remained in circulation until the end of the first century, BC, when the eastern Mediterranean had become part of the Roman Empire. The earliest Roman coinage system was based on the as, a bronze coin that weighed about 324 grams. Smaller coin denominations were fractions of the as. In the early Republican period, the Romans also used coins based on Greek denominations, such as the didrachm. The denarius system was introduced in about 212 BC. In this system, a number of silver, bronze, and gold coins were minted as either multiples or fractions of the as.$	[213] GVIL2_140721_785.JPG Medium (Email) (Bigger?)
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Specific picture descriptions: Photos above with "i" icons next to the bracketed sequence numbers (e.g. "[1] ") are described as follows:
1. GVIL2_140721_008.JPG: Neolithic and Bronze Age Arts: This gallery displays the most ancient artifacts in the Museum's collection. Made by various cultures in the eastern Mediterranean, these objects date from the Neolithic period (6500 BC) to the end of the Bronze Age (about 1000 BC). The Neolithic period (Late Stone Age) is marked by the making of polished stone implements, while the Bronze Age is characterized by advances in metal production that led to the creation of bronze, an alloy of copper and tin. Because prehistoric cultures have no written history, our knowledge of them depends on the artifacts that survive and the archaeological contexts in which they were found. Most of the Museum's objects do not have a known find-spot. Scholars have compared them with similar pieces recovered in excavations to understand what they meant to the people who created them. Many Neolithic and Bronze Age objects were used for religious or funerary purposes. Today we appreciate prehistoric objects as works of art; their makers, however, designed them to be functional as well as beautiful.
2. GVIL2_140721_011.JPG: Fertility Goddess Chalcolithic, from Cyprus, 3000-2500 BC
3. GVIL2_140721_025.JPG: The Age of Heroes: During the Bronze Age (3000-1000 BC), two cultures -- the Minoans and the Mycenaeans -- dominated the Greek mainland and the Aegean Sea. Named after the mythical King Minos, it was centered at Knossos on the island of Crete. The Mycenaean culture (1600-1000 BC), composed and interrelated city-states on the Greek mainland, imitated the Minoans' art, architecture, and way of life. The Mycenaeans eventually conquered the Minoans in about 1450 BC. The ancient Greeks of later periods recognized that Bronze Age monuments and artifacts from sites like Mycenae, whose ruins remained visible, belonged to a distant past. Through myth and epic poems such as Homer's Iliad and Odyssey, they associated this era with the lives and deeds of their revered heroes, figures like Agamemnon, Achilles, and Theseus. Works of art depicting mythical heroes or episodes of the Trojan War were created with a Heroic Age in mind and reflect the Greeks' desire for a glorious past.
4. GVIL2_140721_033.JPG: Lost Evidence: Even before the Cycladic culture was studied systematically by archaeologists, marble statuettes found on the Cyclades greatly appealed to modern artists and collectors. During the 1950s and 1960s, an increasing demand for Cycladic figures led to uncontrolled digging on the islands and to the production of forgeries. As a result, most Cycladic works that are now in museums have lost their archaeological contexts. Thus crucial information about their origin, chronology, and use is missing. Although the history of these objects can never be recovered, comparable finds from scientific excavations help interpret isolated pieces in museums and private collections. Ancient cemeteries are typical sites for artifacts to be found in situ (in their original setting). In fact, most Cycladic marble figures and vessels have been discovered in graves, where they were buried with the deceased. For archaeologists, the variety of objects can indicate how long a burial ground was used by a community as well as how long a settlement was inhabited and the size of its population.
5. GVIL2_140721_048.JPG: Glassmaking Techniques in Antiquity The three main ingredients of ancient glass are silica, from beach or river sand; soda (sodium carbonate), found in the mineral natron and in the ashes of certain plants; and lime, from seashell debris in beach sand. When heated to at least 1300 degrees F, these elements melt together to form glass. While in a molten state, glass was manipulated in a variety of ways to create vessels.
6. GVIL2_140721_112.JPG: Ancient Glass from the Collection of Erwin Oppenlander: In 2003, the J. Paul Getty Museum acquired more than 350 works of ancient glass from the private collect of Erwin Oppenlander (German, 1901-1988). A manufacturer who lived near Stuttgart, Oppenlander formed his collection in the mid-twentieth century. He purchased the majority of his glass from auction houses and art dealers in Europe, and many pieces were from private collections assembled in the late nineteenth century. A discerning collector, Oppenlander had a refined aesthetic sensibility. His taste and determination to form a comprehensive collection are evident in the quality of the objects and by the fact that there are no duplicates -- each piece stands on its own merits. The Oppenlander collection is remarkable for its cultural and chronological breadth. It includes works made in Mesopotamia, Egypt, the Greek world, and the Roman Empire, and spans the entire period of ancient glass production, from its origins in Mesopotamia in about 2500 BC to Byzantine and Islamic glass of the eleventh century AD. Also notable is the variety of ancient glassmaking techniques, such as casting, core forming, mosaic, inflation, mold blowing, cameo carving, incising, and cutting. All these techniques are still used by glass artists today.
7. GVIL2_140721_117.JPG: Green Fish-Shaped Flask with Pinched Decoration Roman, AD 200-300
8. GVIL2_140721_119.JPG: Burgundy Container with Thirteen Handles Roman, AD 200-400
9. GVIL2_140721_123.JPG: Green Four-Part Eye-Makeup Container with Trails and an Ornate Handle Byzantine, AD 400-600
10. GVIL2_140721_155.JPG: Animals in Antiquity: "But ask the beasts, and they will teach you; the birds of the air, and they will tell you." -- The Bible, Job 12:7 Animals enlivened almost every aspect of ancient life. They provided a source of food, aided in labor, gave companionship, and even offered entertainment. Warfare, a constant reality in antiquity, required horses, mules, and, on occasion, elephants as mounts and supply carriers. Animals were also essential to religious practices, serving as sacrifices. In art and myth, animals represented certain virtues and values. Lions embodied courage and strength, and birds symbolized freedom and the fleeting nature of life. Some animals were connected with specific divinities. The eagle was associated with Zeus (Jupiter to the Romans), king of the gods; the owl was a frequent companion of Athena (Minerva), goddess of wisdom and warfare; and Dionysos (Bacchus), god of win, was often accompanied by a panther.
11. GVIL2_140721_164.JPG: Wine in Antiquity "Wine is the gods' best gift to mortals, shining wine. All songs go well with it, and all dances, and all sensuous lovemaking. It drains all the troubles from men's hearts." -- Panyassis, about 475 BC Wine played an important social, religious, and economic role in the lives of the Greeks and Romans. Regularly consumed at public festivals and at dinner and drinking parties, wine also served as an offering to the gods and was believed to have curative properties. Paintings in terracotta vessels provide a wealth of evidence for the presence of wine in myth and daily life. The ancients commonly mixed their wine with water in later, openmouthed vessels called kraters. This had the benefit of tempering the strong taste and reducing the rate of intoxication. Drinking unmixed wine was considered barbaric and invited the "madness" of the wine god Dionysos (Bacchus to the Romans), who could instill rage and folly as often as ecstasy.
12. GVIL2_140721_188.JPG: For some reason, you weren't allowed to directly photograph the green statue to the right.
13. GVIL2_140721_196.JPG: Commemorating the Dead: "You now lie in death's quiet sleep, so you will be ... removed from all distressing pains." -- Lucretius, On the Nature of Things, about 59 BC Each of the sculptures in this gallery commemorates the death of an individual. Both the Greeks and the Romans honored the dead with highly visible monuments, which typically stood along roads leading out of cities. Different cities erected distinctive types of grave markers. All share a common feature; they present the deceased as respected citizens. Idealized images of the dead served as models of proper appearance and behavior for the living. Inscriptions often named the deceased, traced family lineage, or warned off potential grave robbers. Family members of the dead ritually visited grave monuments with offerings.
14. GVIL2_140721_218.JPG: Cremation Chest Roman, AD 20-40
15. GVIL2_140721_230.JPG: Grave Monument of Popullius and Calpurnia Roman, AD 1-20 The side-by-side arrangement of the deceased in a windowlike box as well as the style of the carving are typical of monuments made from freed Roman slaves. Families of deceased freedmen placed such panels on the facades of family tombs that lined the roads leading out of Rome. The panels announced the elevated social status of freedmen and their heirs, who were henceforth freeborn.
16. GVIL2_140721_261.JPG: Women in Antiquity: "Your reputation if glorious if you do not prove inferior to your own nature and if there is the least possible talk about you among men, whether in praise or blame." -- Thucydides, History of the Peloponnesian War, 431-404 BC With the words above, the Athenian statesman Perikles described how a woman's reputation was determined in ancient Greece. To be not spoken of at all was a great virtue. because of this prevailing attitude, very little literary evidence survives regarding women's lives in antiquity. Much of our knowledge comes from the visual arts. Throughout the ancient world, the life of a respectable woman centered on her home and family, although she also participated in public rituals. Religious observance in devotional cults and the caretaking of the family burial plot required a significant amount of a woman's time and attention.
17. GVIL2_140721_322.JPG: Ensemble of Jewelry; Greek, made in South Italy, 525-500 B.C., Silver, gold, and bronze Comprised of dress pins, appliqu�s, and other luxurious items, this rare group of ornaments was made during the Archaic period (700-480 B.C.). One of the heads depicts Medusa with tusk-like fangs protruding from her open mouth. The others represent korai (young women) and kouroi (young men).
18. GVIL2_140721_344.JPG: Doll Greek, 500-400BC
19. GVIL2_140721_350.JPG: Coin Bank Shaped as a Beggar Girl Roman, AD 25-50
20. GVIL2_140721_361.JPG: Children in Antiquity: Many images of children and their toys in ancient art are familiar to the modern viewer, but some aspects of childhood in antiquity were quite different from children's lives today. A child's course in life was largely predetermined by gender and the social station of the parents. Greek and Roman society was based on slavery, and children were not spared; they often served boys and girls not much older than themselves. The sons of citizens learned to read and write, play musical instruments, and compete in sports. Boys from lower-class families were apprenticed at an early age to learn a craft or trade. Girls, regardless of their position in society, did not receive formal schooling. They were primarily taught domestic skills, such as the weaving of textiles.
21. GVIL2_140721_367.JPG: Portraits of Roman Women: Roman sculpture that was produced for public tombs, religious shrines, and civic buildings represented women as well as men. While maintaining individual characteristics, portraits of women tended to be more idealized that those of men. Regardless of rank, women were depicted according to the style of the current empress. Emulating the fashion of the imperial family helped establish a woman's place in society. High-quality carving, with carefully sculpted details of clothing and hairstyle, was also important in communicating status.
22. GVIL2_140721_372.JPG: Bust of a Woman; Roman, made in Rome, A.D. 150-160 Marble Few Roman portrait busts are as delicately carved and well preserved as this one. Although not identifiable as a member of the imperial family, the woman represented in this portrait was wealthy enough to employ one of the best sculptors of her time. The artist's skill is shown in the three different ways the surface of the marble is finished: textured for the hair, highly polished for the skin, and smooth for the clothing. The bust may have been placed in the family's household shrine. Its date is based on the similarity of the hairstyle to those of Faustina the Elder, wife of emperor Antoninus Pius (ruled A.D. 138-161), and Faustina the Younger, their daughter. Note the similarity to modern actress Gwyneth Paltrow -- human features haven't changed much in 2000 years!
23. GVIL2_140721_385.JPG: Greco-Roman Egypt: Egypt's last independent dynasty of pharaohs ended with the Achaemenid (ancient Persian) occupation in the late sixth century BC. With few interruptions, the Achaemenids ruled Egypt until 332 BC, when Alexander the Great made it part of the Macedonian Empire and founded the city of Alexandria. After Alexander's death in 323 BC, his general Ptolemy established the Ptolemaic dynasty in Egypt. To present themselves as rightful rulers, the Ptolemies adopted the traditions of the pharaohs. Accordingly, Ptolemaic art blended Egyptian and Greek materials, subjects, and styles. The Ptolemaic dynasty ended after Octavian (later called Augustus) defeated Marc Anthony and the Ptolemaic queen Cleopatra VII at the Battle of Actium in 31 BC. The following year, Cleopatra and Marc Anthony committed suicide, and Egypt came under Roman rule. A wave of "Egyptomania" emerged in Roman culture as Egyptian religion and artistic style spread throughout the empire.
24. GVIL2_140721_444.JPG: Burial Gifts: The objects in this case are from a burial. The toys, figurines, and jewelry suggest that the deceased was a child, probably a girl. Gifts were commonly placed in a sarcophagus (coffin) to accompany the deceased in the afterlife. More objects made of wood, leather, cloth, and other organic materials have survived in Egypt's dry climate that anywhere else in the Mediterranean world.
25. GVIL2_140721_466.JPG: Religious Offerings: "The Thorikians are to offer a Zeus a bought piglet, to be burnt whole. The priest is to provide lunch for the attendant." -- Religious calendar from the Greek town of Thorikos, 440-430 BC Life in the ancient world centered on religion and its rituals. Devotional acts ranged from simply pouring wine or oil over an altar or shrine to an elaborate city festival that culminated in the slaughter and burning of one hundred or more animals as offerings. Between these extremes, various objects were regularly dedicated to gods at sacred sites, called sanctuaries. Offerings included large and small statues of humans, animals, and body parts as well as vessels, jewelry, gemstones, and inscribed messages. The purpose of these gifts was to communicate with the gods, either in gratitude for good fortune or with the expectation of receiving something desirable in return.
26. GVIL2_140721_485.JPG: Men in Antiquity: "The man who keeps his house in order is a man to fit to rule in public life." -- Sophocles, Antigone 442BC Men of both high and low social status lived most of their lives in the public arena. At home, the man was the head of the household, acting as the sole authority and decision maker. The modern democratic ideal that individuals are born equal was unthinkable in the ancient world. Women, foreign residents, and slaves or ex-slaves were not citizens. Warfare was a constant in antiquity. Citizens did most of the fighting, especially in ancient Greece and during the Republic period (509-27 BC) in Rome. Under the first Roman emperor, Augustus (rules 27 BC - AD 143), the Roman army was reorganized to include both citizens and auxiliary troops, who received citizenship upon discharge from the military.
27. GVIL2_140721_487.JPG: Alexander the Great: Alexander the Great (356 - 323 BC), the young Macedonian king who conquered the Persians and established the largest empire of his time, embodied many of the traits thought to make a great man. As a politician, a warrior, and a leader, he was well educated, passionate, ambitious, and charismatic. Alexander's extraordinary achievements elevated him to almost divine status in antiquity. His portraits were reproduced in a variety of sizes, media, and guises; most were based on official images created by his court sculptor, Lysippos (active about 370 - 315 BC). A legendary figure, Alexander was widely emulated by later Greek and Roman rulers, who often imitated his images in their own portraits.
28. GVIL2_140721_577.JPG: Horse Armor Greek, made is South Italy, about 480 BC Horses wore armor in battle as well as for ceremonial purposes. These pieces were shaped by hammering and then decorated with sculptural reliefs and incised designs. The two prometopidia (headpieces), which covered the horses' foreheads and noses, are each adorned with the head of a helmeted warrior with inlaid ivory and amber eyes. On the chest plate, a four-horse chariot flanked by figures of Nike (goddess of victory) suggests that the armor was made for a victorious chariot team. The small holes punched around the edges of the bronze pieces were for attaching a leather backing onto the metal for cushioning.
29. GVIL2_140721_622.JPG: Discovery of the Victorious Youth: Very few bronze statues remain from antiquity. Most that have survived come from shipwrecks. The Victorious Youth was recovered from an ancient shipwreck in international waters in the Adriatic Sea. It was probably on its way to Rome, where many Greek sculptures were taken to be displayed in cities and villas. When the statue was found in the q960s, it had lost its feet and its inlaid eyes but was otherwise complete. The surface was covered with barnacles and shells, and the metal had been corroded by salt water. When the sea accretions were removed, the bronze had its present irregularly mottled appearance.
30. GVIL2_140721_624.JPG: Victorious Youth Greek, 300-100 BC
31. GVIL2_140721_633.JPG: The Winning Athlete "And in the delightful festivities, the whole precinct rang with a song in praise of victory." -- Findar, Tenth Olympian Ode, about 476 BC Victorious athletes won honor and fame not only for themselves but also for their families and communities. Winners received prizes such as olive wreaths at Olympia, laurel wreaths at Delphi, and special terracotta vessels filled with olive oil at Athens. The best-known poets of the day often celebrated them in song. Some victors were commemorated with statues erected at the sites of the games and in their hometowns. These sculptures usually depicted an athlete in his moment of glory, crowned with a victor's wreath.
32. GVIL2_140721_652.JPG: Wreath Greek, 300-100 BC Gold wreaths were often modeled after the floral wreaths given as prizes in athletic contests. Here the leaves and berries imitate those of the laurel, a tree sacred to Apollo, god of prophecy and music. The wreath's fragility suggests that it was not intended to be worn in life but would have served as a funerary offering or a dedication to a deity.
33. GVIL2_140721_657.JPG: Athletes and Competition "They rejoiced competing with all Hellenes, since oblivion belongs to those who do not take part." -- Pindar, Fourth Isthmian Ode, 479 BC Participation in large-scale, organized athletic contests indicated an individual's position in ancient society. Victory in one or more events ensured honor and fame, not only for the athlete but also for his family and city. Athletic training and competition formed an essential element of a boy's education as preparation for future military service. Boys and men competed in their age classes for prizes, cheered on by their neighbors and fellow citizens. Although girls are known to have run in a competition held in honor of the Greek goddess Hera, women were not allowed to participate in public events. They were even excluded from athletic games as spectators.
34. GVIL2_140721_667.JPG: Ancient Sites and Prizes of the Major Greek Games: Athletic games were held at sanctuaries throughout the year as part of religious festivals. Each site was dedicated to a particular deity and awarded a specific prize. The most famous ancient contests were those founded at Olympia in 776 BC. Games continued to be held at these sanctuaries throughout the Roman period, when the sites were refurbished and new buildings were constructed. Some members of the imperial family even participated in games, especially chariot races. With the rise of the new Christian religion, the games ere finally banned in AD 393 by Emperor Theodosios I (ruled AD 376-395), and the sanctuaries gradually fell into disrepair.
35. GVIL2_140721_685.JPG: The Strigil: After exercising, athletes cleansed themselves by applying oil to the body and then scraping the sweat and dirt off the skin with a curved metal blade called a strigil. Frequently depicted in Greek and Etruscan gymnasium scenes of the sixth and fifth centuries, BC, the strigil remained in use well into Roman times. Athletes are shown using the implement on two of the gems displayed at right, and also on the wine cooler nearby.
36. GVIL2_140721_732.JPG: Kouros Greek, about 530 BC or modern forgery Marble Statues of nude young men, called kouroi, represented the Greek physical ideal during the Archaic period (700-480 BC). More than fifteen years have passed since the Museum acquired this kouros, and it has undergone countless hours of study and research. Nonetheless, experts are still divided about its authenticity. The Getty kouros is not an obvious forgery, like the sculpture shown in the photograph at right, but its style and the type of marble from which it was carved are unique in statues of this kind. This forgery of a kouros, also in the Getty's collection, was carved with modern power tools in Italy in the 1980s.
37. GVIL2_140721_734.JPG: Coins, Gems, and Jewelry: Small-scale works of ancient art, such as those displayed in this gallery, have been treasured by connoisseurs and collectors for centuries. Before ancient sites began to be excavated in the eighteenth century, coins and carved gems were among the few known artifacts from antiquity. Carefully studied and catalogued, these works served as the basis for the first modern art historical discussions of ancient art. Numerous excavations around the Mediterranean region have since revealed the civilizations of the ancient Greeks, Romans, and Etruscans. Much of what is known today about these cultures comes from fragmentary artifacts. These fragments deserve close scrutiny, for the smallest objects can yield the most rewarding information.
38. GVIL2_140721_751.JPG: Ship with Figures
39. GVIL2_140721_759.JPG: Mask of Dionysos
40. GVIL2_140721_763.JPG: A Myth about the Origins of Amber: The Greeks, Romans, and Etruscans debated the origins of amber. Some believed that it formed from the tears of the Heliades, the daughters of Helios (god of the sun). Their brother, Phaethon, died trying to drive Helios's chariot across the sky. Distraught by his death, the Heliades wept inconsolably until they became fixed in place, growing roots and turning into trees. Their tears hardened into amber. Thus the ancients understood the association between amber and tree resin, amber's distant origins, and its warm, sunlike appearance.
41. GVIL2_140721_766.JPG: Amber: Amber, fossilized tree resin, was prized in antiquity for its reddish color, smooth surface, transparency, and fragrance. It was used for medicinal and magical purposes and was carved into decorative beads and sculptural pendants. Etruscans and other cultures of the Italian peninsula imported amber from the Baltic Sea. Myths about its mysterious origins appear in many Greek and Latin texts.
42. GVIL2_140721_768.JPG: How Amber Was Formed: Millions of years ago, amber was formed by resin-bearing trees that were clustered in dense forests. The resin was exuded through the bark. As it oozed down the trees, it formed drops, sheets, and stalactites. The trees and their resin were eventually carried away by rivers and tides to coastal areas, where they were buried in sedimentary deposits. Over time, the resin's liquid content evaporated, and the remains hardened into amber.
43. GVIL2_140721_771.JPG: Amber Routes: Amber is found throughout the world. Some of the largest deposits, and those that were supplied to the ancient Mediterranean region, are located on the shores of the Baltic Sea. Ancient traders transported amber south along the course of the Rhine and other rivers.
44. GVIL2_140721_777.JPG: Ancient Coins: Today ancient coins are often valued more for the political images and historical information they provide than for their aesthetic qualities. Coins have been used as a means of exchange throughout the Mediterranean since about 600 BC. The earliest examples were found at the city of Ephesos (in present-day Turkey). Ancient Greek coins bear symbols related to the city that issued them. In Athens, for instance, the head of Athena, the city's patron goddess, decorates the obverse (front). Portrait heads of Greek rulers started to appear on coins after the death of Alexander the Great in 323 BC. The tradition of portrait coins continued in Roman currency, where the heads of officials, generals, and emperors and their wives were identified by their names and titles. Portrait coins have enabled scholars to recognize and date sculpted images.
45. GVIL2_140721_780.JPG: How to Read a Coin: Obverse: front ("heads") side Reverse: Back ("tails") side Legend: Writing around the edge of a coin that includes the name of a city or the name and titles of the ruler or magistrate responsible for minting the coin. Mint Mark: A symbol, usually a letter, that indicates the city in which a coin was struck.
46. GVIL2_140721_783.JPG: Denominations: In antiquity, the amount and type of metal used to make a coin determined its value. Greek coins were struck in electrum, silver, bronze, and gold, and their value was dependent on their weight. In Athens, the basic coin unit was the drachm, which weighed 4.36 grams of silver. All other Athenian coin denominations were either fractions or multiples of the drachm. Greek denominations remained in circulation until the end of the first century, BC, when the eastern Mediterranean had become part of the Roman Empire. The earliest Roman coinage system was based on the as, a bronze coin that weighed about 324 grams. Smaller coin denominations were fractions of the as. In the early Republican period, the Romans also used coins based on Greek denominations, such as the didrachm. The denarius system was introduced in about 212 BC. In this system, a number of silver, bronze, and gold coins were minted as either multiples or fractions of the as.
47. GVIL2_140721_791.JPG: Currency and Propaganda: The wide circulation of ancient coins made them ideal vehicles for propaganda and political messages. The successors of Alexander the Great were the first to put their portraits on coins alongside images or symbols of deities, such as Athena or Zeus. This association suggested a divine sanction to their power. The Romans perfected a system of currency distribution that not only unified economic exchange but also made images of rulers and other symbols of Roman power commonplace throughout the empire. Starting in the late Republic, portraits of rulers regularly appeared on Roman coins, combined with depictions of gods and other ideological symbols -- continuing the tradition begun by Hellenistic Greek rulers. Resembling today's Euro currency, Roman coins with the same images were struck at mints throughout the empire. They only differed in their mint marks, which usually took the form of letters.
48. GVIL2_140721_794.JPG: Minting Coins in Antiquity: Making coins was a labor-intensive process in antiquity. After the metal was mined and purified, blank disks is measured amounts were placed in a die (mold) carved with the design for the observe (front). A second die with the design for the reverse was placed on top. It could also be attached to a punch or to the tip of a hammer that was used to strike the metal, impressing the detailed images and giving shape to the coin.
49. GVIL2_140721_797.JPG: Wreathed Head of Zeus
50. GVIL2_140721_800.JPG: Owl on a Storage Jar
51. GVIL2_140721_816.JPG: Head of Ptolemy I
52. GVIL2_140721_819.JPG: Head of Alexander the Great
53. GVIL2_140721_825.JPG: Seated Athena
54. GVIL2_140721_828.JPG: Head of Seleukos I
55. GVIL2_140721_830.JPG: Apollo Sitting on an Omphalos
56. GVIL2_140721_833.JPG: Wreathed Head of Zeus
57. GVIL2_140721_844.JPG: Silver Treasures: "No one ever yet possessed so much silver as to want no more; if a man finds himself with a huge amount of it, he takes as much pleasure in burying the surplus as in using it." -- Xenophon, Ways and Means, about 355 BC Some collections of ancient objects survive today because they were buried in houses, shrines, or graves. In times of war, owners concealed their valuable belongings with the hope of coming back at a safer time to recover them. Treasures like these, known as hoards, are generally discovered by accident. Scholars study pieces grouped in hoards to learn more about the people who created and used them. Objects made of precious metals were offered as gifts to the gods at sanctuaries and were displayed in homes as a sign of status and wealth. On important occasions the best silver and gold were used for eating and drinking. Some of these ancient customs are still followed today.
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Wikipedia Description: Getty Villa
From Wikipedia, the free encyclopedia

The Getty Villa in the Pacific Palisades neighborhood of Los Angeles, California, USA, is one of two locations of the J. Paul Getty Museum. The Getty Villa is an educational center and museum dedicated to the study of the arts and cultures of ancient Greece, Rome, and Etruria. The collection has 44,000 Greek, Roman, and Etruscan antiquities dating from 6,500 BC to 400 AD, including the Lansdowne Heracles and the Victorious Youth. The UCLA/Getty Master’s Program in Archaeological and Ethnographic Conservation is housed on this campus. The collection is documented and presented through the online GettyGuide as well as through audio tours.

History

In 1954, oil tycoon J. Paul Getty opened a gallery adjacent to his home in Pacific Palisades. Quickly running out of room, he built a second museum, the Getty Villa, on the property down the hill from the original gallery. The villa design was inspired by the Villa of the Papyri at Herculaneum and incorporated additional details from several other ancient sites. It opened in 1974, but was never visited by Getty, who died in 1976. Following his death, the museum inherited $661 million and began planning a much larger campus, the Getty Center, in nearby Brentwood. The museum overcame neighborhood opposition to its new campus plan by agreeing to limit the total size of the development on the Getty Center site. To meet the museum's total space needs, the museum decided to split between the two locations with the Getty Villa housing the Greek, Roman, and Etruscan antiquities. In 1993, the Getty Trust selected Rodolpho Machado and Jorge Silvetti to design the renovation of the Getty Villa and its campus. In 1997, portions of the museum's collection of Greek, Roman and Etruscan antiquities were moved to the Getty Center for display, and the Getty Villa was closed for renovation. The collection was restored during the renovation.
The entrance to the Getty Villa sets the ton ...More...
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2014 photos: Equipment this year: I mostly used my Fuji XS-1 camera but, depending on the event, I also used a Nikon D7000. Trips this year: three Civil War Trust conferences (Winchester, VA, Nashville, TN, and Atlanta, GA), Michigan to visit mom in the hospice before she died and then a return trip after she died, and my 9th consecutive San Diego Comic-Con trip (including Las Vegas, Reno, Carson City, Sacramento, Oakland, and Los Angeles). Ego strokes: Paul Dickson used one of my photos as the author photo in his book "Aphorisms: Words Wrought by Writers". Number of photos taken this year: just over 470,000.
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