Travel Diary: Ancient Roman Port Town of Ostia Antica on a Summer Day in 2004

Long story short, I visited the ancient Roman ruins of Ostia Antica, once Rome's port city. Today, Ostia Antica is a meticulously preserved archaeological site—a day trip journey from Rome.

The author sits astride the entrance to an ancient Roman snack shop on what was once a busy commercial street in Ostia, Antica.

I remember the day we set out—my friend, a clinical social worker, and I, a Benedictine monk! What a pair! The day was hot—one of those excessively hot summer days, which is why, historically, Popes have left Rome in the summer months to retreat at Castel Gandolfo, slightly more elevated and on a beautiful lake. Anyway, I digress. We took one of those local Italian trains that stopped at every village and township between Termini station and the coast. 

I don't remember much about visiting Ostia except to say I appreciated how the ancient Romans had snack shops, indoor plumbing, heating, like us, storefronts, and well-laid out streets—a presage to pretty much how we live today—except trade horse carriages with gas-powered automobiles.

Takeaway: Ostia Antica is a day trip by train if you are traveling to Rome, Italy.

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Zeus Ammon at the Met: A Greek-Egyptian Syncretism in Stone

🏛️ Museum Musings 🏛️ I'm at the Metropolitan Museum of Art today.

Just laid eyes on the fascinating 2nd-century bust of ‘Zeus Ammon’ and I can’t help but marvel at the blend of cultures captured in stone. As expected, you’ll find the grandeur and aesthetic of Classical Greece, but what truly captivates is the god’s syncretic figuration as the Egyptian god Ammon—notice the distinctive ram’s horns!

With the great temple of Zeus at Olympia lost to time, pieces like this offer a glimpse into how the supreme ruler of the Olympians was once revered. It’s an extraordinary testament to the interconnectedness of ancient civilizations. 

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Sully Wing Secrets: Louvre's Greek and Egyptian Wonders

Discover a teacher's unique Louvre encounters, from Greek beauty to Egyptian relics. Explore beyond Mona Lisa to uncover the Louvre's heart.

(2) Apollon Sauroctone

(1) Éphèbe

You can't expect to tour the Louvre and see it all. I've visited the museum three times; most recently this past February as a high school English teacher on a London and Paris school trip. My previous visits were in 2000 and 2001 as a college student. During the first of those trips, I explored the Denon wing, which houses the Louvre's iconic treasures — the Mona Lisa, the Winged Victory of Samothrace, the Coronation of Napoleon, and all those wonderful works of art. I was in awe, though I do recall the Mona Lisa looking more like a postcard (she still does, but we adore you, La Joconde!).

On this third visit, I began in the basement of the Sully wing and worked my way up, which proved to be immensely rewarding. And I did not even catch nary a glimpse of Leonardo's lady nor did I see the Nike (they live in my heart). Where the Éphèbe (1) and Apollo Sauroctone (2) reside is a vast collection of Greco-Roman sculpture, including the Venus de Milo. I was struck by the youthful Narcissus, whom I initially mistook for an athlete — he epitomizes Greek beauty and the stylized classical loveliness associated with the young and svelte. Similarly, there is the Apollo — it seems the gods enjoyed odd, vain acts like slaying lizards — apparently, this depicts Apollo as a protector. I had some knowledge of this piece prior to my visit, so seeing it in person was a delight.

Deep in the Sully wing lie the remnants of the Louvre's past life as a fortress before it became a royal palace and now a museum. The dungeon, curiously, serves as the storage for artifacts related to French history and the story of the Louvre complex. Here, I encountered a majestic sculpture representing the river (3) — there are actually two, but here we speak of one: the Seine. And I must say, I was captivated by him.

The Louvre's Egyptian wing is dizzying, with fifteen thousand objects from their massive half-a-million-piece collection. Even after seeing Egyptian art in numerous museums, the Louvre's assemblage feels personal and well-organized. The procession of sphinxes (4) in Room 327 was a charming touch — I half-expected one to spring to life and pose the classic riddle about the creature that walks on four legs in the morning, two in the afternoon, and three in the evening.

A three-thousand-year-old Egyptian statue (5), likely once part of a fierce work, is displayed, and it caught my attention, especially because of its eyes. It reminded me of how Percy Bysshe Shelley envisions the sculptor of Rameses II (now in the British Museum), meticulously carving the pharaoh's visage, well aware of the emperor's demands for precision.

And finally, I returned to that room that first captured my heart — Room 344 — where a statue of Zeus, or technically Jupiter (6) (since it's a Roman piece), stands from the second century. And, goodness, what a figure he cuts!

(3) Un fleuve

(4) Statue of a Sphinx

(5) Statue

(6) Jupiter

Citations:

(1) Louvre Museum. Narcisse (Type, Original en Bronze) - Éphèbe (Boucle, Court, Nu, Appuyé, Sur Pilier, Bas). 2nd century A.D., Basse Égypte. Louvre, Department of Greek, Etruscan, and Roman Antiquities, Sully wing, ground floor, room 344, item Ma 457. https://collections.louvre.fr/ark:/53355/cl010278134.

(2) Louvre Museum. Apollon Sauroctone. 2nd quarter 1st century A.D., Italy. Louvre, Department of Greek, Etruscan, and Roman Antiquities, Sully wing, ground floor, room 344, item Ma 441. https://collections.louvre.fr/ark:/53355/cl010278000.

(3) Barye, Antoine Louis. Un fleuve. 19th century, France. Musée du Louvre, Department of Sculptures of the Middle Ages, Renaissance, and Modern Times, inventory number RF 1560 & RF 1561. Louvre Museum, Sully, [HIST LOUVRE] Salle 134 - Salle de la maquette, Vitrine 08 https://collections.louvre.fr/en/ark:/53355/cl010093894.

(4) Musée du Louvre. Statue of a Sphinx. Circa 380-362 B.C. [?], Serapeum of Memphis, Saqqara. Musée du Louvre, Department of Egyptian Antiquities, Room 327, Sully, inventory number N 391 D. Louvre Museum, https://collections.louvre.fr/en/ark:/53355/cl010009175.

(5) Musée du Louvre. Statue. Third Intermediate Period, circa 1069-664 B.C. [?]. Musée du Louvre, Department of Egyptian Antiquities, inventory numbers E 2410; N 1579; Clot bey C 25 no. 5. Louvre Museum, https://collections.louvre.fr/en/ark:/53355/cl010013953.

(6) Musée du Louvre. Jupiter. 2nd century A.D. [?], Italy. Musée du Louvre, Department of Greek, Etruscan, and Roman Antiquities, Room 344. https://collections.louvre.fr/en/ark:/53355/cl010277023.

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Unearthing Mysteries: An Encounter with Fortuna at The Metropolitan Museum of Art

A Byzantine Tale of Civilization and Fate at The Metropolitan Museum of Art. Where history meets artistry.

I am standing amidst the breathtaking expanse of the Metropolitan Museum of Art in New York City. Amid the myriad of artifacts and art pieces, I find myself drawn to an artifact of particular intrigue. At first glance, it may not command your immediate attention, but I assure you, its narrative is as grand as any. It's a captivating statuette hailing from the Byzantine era, bearing the likeness of a Roman goddess: Fortuna, also known as Tyche.

Fortuna (Tyche), Late Roman
or Byzantine ca. 300-500 C.E.

Upon closer inspection, you begin to notice the details etched into this statuette that elevate it from a simple representation of a goddess to a profound symbol of historical narrative. A distinguishing feature of Fortuna is her sculptural headdress, ingeniously designed to mimic a city-like fortress, replete with a gate, and walls to fortify it. The statuette portrays her with this sculptural motif of a city perched atop her head — a poignant indication of the goddess's authority and influence.

But, the statuette holds more in its petite form. Cradled in Fortuna's hand is a cornucopia - a classic emblem of abundance and prosperity. This combination, a city upon her head and a symbol of prosperity in her hand, is powerful. It's a juxtaposition that beautifully ties together the themes of urban society and fortune.

The statuette isn't merely an exquisite work of art; it's a vessel, carrying layers of symbolism and a profound narrative within it. Fortuna, adorned in her cityscape headdress, seated on a throne, paints a picture of the intricate relationship between chance or fortune and the development of civilization. It's a compelling reminder of how the evolution of societies has always been tied to the capricious hands of fate.

So, it isn't just a 'cool little statuette' - it's a piece of history, a symbol of societal evolution, and a testament to the intricate craftsmanship of the Byzantine era. It's the embodiment of the idea that every artifact carries a tale, waiting to be discovered, waiting to be told. Take a moment to admire this extraordinary piece of history and let Fortuna's tale unfold.

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Exploring Ancient Rome: The Majestic Bust of Marcus Aurelius at The Metropolitan Museum of Art

I've taken to re-visiting some of my favorite works of art. Here's a fantastic piece from Rome — created around the second century C.E.

Exploring the Metropolitan Museum of Art in New York City today. I’m admiring a second-century C.E. bust of a Roman youth. This isn’t just any youth - it’s a youthful portrait of Marcus Aurelius, the philosopher and Roman emperor.

Clip Art: Endymion Sleeping on Mount Latmos

Endymion (some say it's Adonis) wears a hat, a Roman tunic, and sandals and naps on Mount Latmos. The original marble Roman sculpture dates from the 2nd Century C.E., where the drawing is based and is located in the British Museum in London. 

Source: The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection, The New York Public Library. "Ancient styles of hats" The New York Public Library Digital Collections. 1845. This image is in the public domain. 

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Quotation: Lucretius On Childish Fear

"Our life is one long struggle in the darkness; and as children in a dark room are terrified of everything, so we in broad daylight are sometimes afraid of things that are no more to be feared than the imaginary horrors that scare children in the dark."

Lucretius, De Rerum Natura, Liber Secondus
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Quotation on How the Wise Understand

a word to the wise is sufficient

dictum sapienti sat est

Attributed to Plautus, Roman dramatist and Terence, Roman poet

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