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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 ...
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 .
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, five years into Tiberius' reign. Germanicus received extensive posthumous honors and was venerated as Rome's version of Alexander the Great.
Germanicus' expedition into Germania was a Roman military expedition from 14 to 16 AD against a coalition of Germanic tribes on the right bank of the Rhine.The campaigns are named after Nero Claudius Germanicus (born 15 BC; died 19 AD), the great-nephew of Augustus.
An X-ray of the Ghent Altarpiece, painted by Jan van Eyck, in Saint Bavo Cathedral in Ghent, Belgium revealed the structure and details of the large altarpiece's painting scheme. The complete radiography of the altarpiece was conducted between 2010 and 2011 as part of a project largely funded by the Getty Institute .
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.
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.