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Two drawings taking up the theme of the painting are attributed to Poussin. One is kept in the British Museum. [5] Although very damaged, it already presents the main lines of the painting with a few variations: the soldier in the center does not extend his hand to the sky but holds the hand of Germanicus, thus remaining closer to the text of ...
Ten copies are known today of Germanicus' Adoption Type portrait--identified by the facial features and careful arrangement of the locks over the forehead. Germanicus (15 B.C.- A.D. 19) was a successful general and immensely popular with both the military and Roman citizenry, yet he never ascended the throne due to his death at the age of 33 ...
Death of Germanicus (1773–1774), a marble sculpture by British sculptor Thomas Banks. [97] Thusnelda im Triumphzug des Germanicus (1873), a painting by German painter Karl von Piloty. [56] I, Claudius (1934), a historical fiction novel by classicist Robert Graves. [98] The Caesars (1968), a British television series by Philip Mackie.
The work of art depicted in this image and the reproduction thereof are in the public domain worldwide. The reproduction is part of a collection of reproductions compiled by The Yorck Project . The compilation copyright is held by Zenodot Verlagsgesellschaft mbH and licensed under the GNU Free Documentation License .
Agrippina Landing in Brundisium with the Ashes of Germanicus is a 64 1 ⁄ 2 x 94 1 ⁄ 2 oil-on-canvas painting. [8] West's painting depicts the events from the beginning of Tacitus' third book as read to him by his client, the Archbishop of York, Dr. Robert Drummond.
The Wife of Arminius Brought Captive to Germanicus is a 1773 history painting by the Anglo-American artist Benjamin West. [ 1 ] [ 2 ] It depicts a scene from the Roman Empire 's military campaign in Germania in the early first century , loosely based on the writings of the historian Tacitus .
Busts from the time of Vitellius, particularly the one in the Capitoline Museums, [32] represent him as broad-faced with several double chins, and it is this type which informs paintings of the emperor from the Renaissance on. There were once other ancient busts claimed to be of Vitellius which later scholarship has proved to be of someone else.
The painting represents one of the many tortures suffered by Erasmus of Formia, Bishop of Antioch, taken by an angel to southern Italy, and pursued by the persecutions of Maximian Hercules. The torture represented here does not come from the Roman Martyrology but from the Golden Legend of Jacobus de Voragine. The emperor ordered that he be tied ...