http://collections.mfa.org/collections/315162/objects/rdfAGR.Roman Emperors and Empresseshttp://collections.mfa.org/internal/media/dispatcher/1028249/resize%3Aformat%3Dfullhttp://collections.mfa.org/internal/media/dispatcher/1218671/resize%3Aformat%3DfullAureus with bust of Diva Faustina I, struck under Antoninus Piusabout A.D. 150GoldObverse: Bust of Faustina I, diademed, draped, right. DIVAFAV STINAReverse: Draped female (Venus?) standing left. AVG V STAhttp://collections.mfa.org/objects/162605/rdfhttp://collections.mfa.org/internal/media/dispatcher/1221010/resize%3Aformat%3DfullAureus with bust of Licinius IA.D. 321–322GoldObverse: Bust of Licinius I facing, draped. LICINIVSAVGOBDVFILIISVIReverse: Jupiter seated, facing, on a suggestus, holding Victory on right hand and long scepter in left; on suggestus at left, eagle holding a wreath. IOVICONS LICINIAVG on front of suggestus: SICX / SICXX In exergue: SMNE http://collections.mfa.org/objects/162535/rdfhttp://collections.mfa.org/internal/media/dispatcher/1216556/resize%3Aformat%3DfullAureus with bust of Magnia Urbica, struck under CarinusA.D. 285GoldObverse: Bust of Magnia Urbica, diademed, draped, right. MAGNIAEV RBICAEAVGReverse: Concordia seated left holding patera and cornucopia. CONCORDI AAVGGhttp://collections.mfa.org/objects/162618/rdfhttp://collections.mfa.org/internal/media/dispatcher/1204397/resize%3Aformat%3DfullAureus with head of Diocletianabout A.D. 299–302GoldObverse: Head of Diocletian, laureate, right. DIOCLETIA NVSAVGVSTVSReverse: Emperor standing left, togate, wearing baldric over left shoulder; holding globe in right hand, scepter in left downward. In field left, dot.CONSVL VIIPPPROCOSSMA(reversed sigma) star (in exergue)http://collections.mfa.org/objects/162619/rdfhttp://collections.mfa.org/internal/media/dispatcher/1000973/resize%3Aformat%3DfullCameo with Livia holding a bust of Augustus (?)A.D. 14–37TurquoiseBust of Livia in the guise of Venus Genetrix, with closely clinging drapery slipping off her left shoulder. Beside her is a youthful male head, which must originally have belonged to a bust or full-length figure, alternately identified as a bust of the deified Augustus, or as one of her sons, Tiberius or Drusus I. The cameo has been set into a modern setting. The lower part of the gem is damaged, and a portion of the original has clearly been lost.http://collections.mfa.org/objects/155690/rdfhttp://collections.mfa.org/internal/media/dispatcher/1011670/resize%3Aformat%3DfullCommodus as the infant Hercules killing the snakesA.D. 183–192Marble, from Carrara in northwest ItalyThis fragmentary statue represents a young, nude Commodus in the guise of the mythological hero Hercules strangling a pair of serpents. The snakes wind around the infant’s upper thighs and left forearm. The left arm is held down, close to the torso, and the legs are splayed as though in mid-stride. The positioning of the right shoulder indicates that the right arm was originally raised. The face is round with plump cheeks and a small chin with a dimple in the middle. The eyes are large and wide with thick lids. The irises are incised but the pupils are not drilled. The eyebrows are gently arched but there is no evidence for feathering. The mouth is small with full lips. Crowning the head is a full head of hair. The tousled curls are composed of short comma-shaped locks that have been deeply carved out with the drill.The legs below mid-thigh, all of the right arm, and the left hand are missing. There are remains of small dowel holes or pins in the left hand, left leg, right thigh, and at the rear. The nose and upper lip have been heavily damaged. There is also damage to the lower left cheek near the jawline and to the ears. Deposits from small root marks cover the surface of the statue, which has a light gray to yellowship brown patina.Scientific Analysis: Harvard Lab No. HI733: Isotope ratios - delta13C +2.07 / delta18O -2.13, Attribution - Carrara, Justification - White, fine grained marble.http://collections.mfa.org/objects/151360/rdfhttp://collections.mfa.org/internal/media/dispatcher/1215862/resize%3Aformat%3DfullDenarius with bust of Diva Marciana, struck under Trajanabout A.D. 113SilverObverse: Bust of Diva Marciana right, diademed and draped. DIVAAVGVSTA MARCIANAReverse: Eagle with spread wings walking left on a scepter, looking right.CONSECRATIOhttp://collections.mfa.org/objects/162604/rdfhttp://collections.mfa.org/internal/media/dispatcher/1028249/resize%3Aformat%3DfullHead of Augustusabout 37-54 or 117-130 A.D.Marble from the Greek island of ParosThis head of the Emperor Augustus was likely originally inserted into a full-length statue or a bust. Augustus’ face is blemish free and idealized. He has a broad forehead, aquiline nose, and narrow chin. There is a single crease running the length of his forehead. His almond-shaped eyes have thin lids with sharp edges and are set below the sharp ridge of his brow. The locks of hair are carved in a very three-dimensional style with several individual locks being undercut, giving the hair the impression of being particularly voluminous. The hair is rendered in the style of the Augustus Primaporta type, but an additional layer of hair has been added between the front locks and the section of hair near the crown. The upper lobes of the ears are broken. Each ear has two iron pins projecting from them, likely from attempts to restore the breaks. The head was worked for insertion into a full-length statue, as indicated by the five iron pins projecting from the edges of the bust. The head is carved out of Lychnites marble from the Greek island of Paros, one of the most prestigious and expensive marbles in antiquity. Restorations were made to this portrait during the 18th century.Scientific Analysis:University of South Florida Lab No. 8421: Isotope ratios - delta13C +4.8/ delta18O -3.7, Attribution - Paros 1, Marathi (Lychnites quarry). Justification - C and O isotopes, medium grainhttp://collections.mfa.org/objects/151325/rdfhttp://collections.mfa.org/internal/media/dispatcher/1675816/resize%3Aformat%3DfullHead of Domitian in the guise of Hercules81-96 A.D.Marble from Carrara in northwest ItalyUnder-life sized head, probably of the emperor Domitian idealized as Hercules. The head features the heavy poplar leaves wreath tied with a broad fillet, cauliflower ears, turn of the head, and furrowed brow of the young Hercules of the Genzano type. However, the hair combed into several tiers of neat curls over the forehead is typical of the Flavian period. The pupils are slightly delineated. The head was broken off at the base of the neck and the left eyebrow and lips are damaged. Several of the leaves and the ends of the fillet are badly damaged, and the nose is entirely missing. Otherwise, the head is in an excellent condition with a smooth surface and only slight incrustations on the rear of the head.Scientific Analysis:Harvard Lab No. HI742: Isotope ratios - delta13C +3.40 / delta18O -1.69 and Isotope ratios - delta13C +3.21 / delta18O -1.69, Harvard Lab No. HI1535: Isotope ratios - delta13C +3.21 / delta18O -1.61, Attribution - Carrara, Justification - Good quality, fine grained marble.http://collections.mfa.org/objects/171516/rdfhttp://collections.mfa.org/internal/media/dispatcher/1663232/resize%3Aformat%3DfullHead of Hadrianabout A.D. 130Marble from the Greek island of ThasosThis over-life-sized head has been worked for insertion into either a full-length statue or a bust format. It depicts the Emperor Hadrian as a mature man. The shape of the head is square with a broad forehead. There are no blemishes or wrinkles on this face, save for two creases between the eyebrows. The eyes are almond-shaped with very thin lids set beneath a sharp browline. The nose is straight and broad, and the lips are thin. There are prominent naso-labial lines framing the moustache. The head has a neat moustache and full but short beard that conforms to the shape of the jawline. There is a full cap of curly hair, with eight broad curls framing the forehead. The locks of hair framing the face have been undercut. The back of the head has only been roughed out, indicating that it was not meant to be viewed from behind.The carving of the facial hair is very flat and the rendering of the eyes and brows is linear. This gives the face a schematic appearance. The head is in good condition with only some minor pock-marks on the flesh of the face.Scientific Analysis: Harvard Lab No. HI227: Isotope ratios - delta13C +3.66 / delta18O -2.64, MFA laboratory: email from Richard Newman to John Herrmann: "The marble is dolomite (determined by Raman spectroscopy). Some gypsum was also detected (from a fill pr surface alteration?)."Attribution - Thasos 3 (Cape Vathy), Justification - Medium grained marble, dolomite.http://collections.mfa.org/objects/151352/rdfhttp://collections.mfa.org/internal/media/dispatcher/1663239/resize%3Aformat%3DfullHead of Septimius SeverusA.D. 196–235Marble from the Greek island of ParosHead of Septimius Severus worked for insertion into either a full-length statue or bust format. The head is turned gently to the right and the gaze is directed up and away from the viewer. The skin is free of blemishes or wrinkles, save for the noticeable naso-labial lines frames the mouth. The eyes are wide with thick lids, incised irises, and drilled pupils. They are set deep within the eye sockets. The lacrimal glands have been distinguished by use of the drill. The feathered eyebrows have been damaged but it is still possible to see the pronounced arch of the brows. There is a slight furrow between his brows. Septimius is depicted with a full head of curly hair. Four isolated corkscrew curls fall over his forehead. His beard is long and gathers into two, parted clumps below the chin. The moustache lays flat over his upper lip. His lower lip is full. The drill has been used extensively in the section of beard underneath the chin and the locks of hair framing the face. The back of the head is carved in shallower relief.The nose has been damaged and is now mostly missing, and sections of the hair have also suffered damage. Traces of a high polish on the neck and face are still visible, but the majority of the sculpture’s surface has deteriorated with evidence for abrasion and corrosion. Scientific Analysis:University of South Florida Lab No. 8437: Isotope ratios - delta13C +4.7 / delta18O -3.5, Attribution - Paros 1, Lychnites. Justification - C and O isotopes, medium grain, hints of gray.http://collections.mfa.org/objects/151363/rdfhttp://collections.mfa.org/internal/media/dispatcher/914137/resize%3Aformat%3DfullPortrait bust of Vespasian, recarved from a bust of NeroA.D. 70–96ChalcedonyThe portrait of the Roman emperor Vespasian depicts him realistically as a bald, wrinkled man, wearing a paludamentum (military cloak) fastened on his right shoulder. The hair atop his head and temples is thin and brushed forward, while that on the nape of his neck is thick, arranged horizontally, and is carved with more detail. It recalls the fashion of the late Julio-Claudian emperors, suggesting that the portrait was originally of the Roman emperor Nero and was later recut to represent Vespasian. The rear of the portrait has a notch, as if to attach it to another object, probably as an imago clipeata (a portrait that projects at an angle from a circular frame, like a shield). The tip of the nose and edges of the ears are broken, and there is a large piece chipped from the front of the bust.http://collections.mfa.org/objects/107/rdfhttp://collections.mfa.org/internal/media/dispatcher/785522/resize%3Aformat%3DfullPortrait head of the Emperor Marcus Aureliusabout A.D. 170Marble, Dolomitic from the Greek island of ThasosThe nose is missing, and the left side of the head shows major damage to the original marble surface. A major part of the left eye, the mouth, the beard at the chin, and much of the rest of the left side of the face has been turned into calcium sulfate (gypsum). A large rectangular hole, for supporting the figure, appears in the back of the head. The undamaged surfaces have areas of light brown to yellow patina or staining. The traces on the shoulder and behind the neck indicate that this portrait came from a bust draped in a cloak or tunic, or from a togate statue. The latter might be more likely the case, for a hole drilled in the back of the head above the nape of the neck at the time of carving in antiquity suggests a fixture for securing a statue to the niche of a basilica, a theater facade, or similar public architectural setting.Scientific Analysis: Marble has been scientifically tested with X-Ray Fluorescence and determined to be Dolomitic. Harvard Lab No. HI368b: Isotope ratios - delta13C +2.50 / delta18O -6.44, Attribution - Thasos-Cape Vathy, Justification - Dolomitic by EM.http://collections.mfa.org/objects/151359/rdfhttp://collections.mfa.org/internal/media/dispatcher/1207460/resize%3Aformat%3DfullSolidus with bust of Constantine IA.D. 330GoldObverse: Bust of Constantine I, right, draped, diademed. CONSTANTI NVSMAXAVGReverse: Victory walking left holds palm and wreath, before head, crescent. CONSTAN TINVSAVG CONS (in exergue)http://collections.mfa.org/objects/162539/rdfhttp://collections.mfa.org/internal/media/dispatcher/1208717/resize%3Aformat%3DfullSolidus with bust of Julian IIA.D. 361–363GoldObverse: Bust of Julian II right, bearded, diademed, draped, cuirassed.FLCLIVLIA NVSPFAVGReverse: Julian, in military garments, walking right and looking back; with right hand he holds by hair a captive. VIRTVSEXERCI TVSROMANORVM ANTZ (in exergue)http://collections.mfa.org/objects/162545/rdf