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The sarcophagus known as the Sarcophagus of the Mourning Women (350 B.C.) is a masterpiece of hellenistic sculpture, representing mourning women around the grave. Found in 1887, in Sidon. In the Istanbul Archaeological Museum.

Here's a view of the whole sarcophagus.

Detail of a wall-painting showing the Sacrifice of Iphigenia. Here, her father, Agamemnon, grieves for her imminent death.

From the House of the Tragic Poet, Pompeii. Now in the National Archaeological Museum in Naples.

Translation that is both literal and readable by M.Gilleland. The webpage also has detailed notes, and links to 8 other verse translations.

Mostly literal tranlsation by T.Kline.

Roman god of forests and their mysterious noises; this rusticity naturally led him to be associated with flocks of goats and sheep. From around 200 BC Faunus was increasingly identified with Pan, the Greek god of flocks, and consequently changed from being a formless spirit (like so many early Roman deities) to a half-goat, half-human figure.

This statue shows Pan/Faunus teaching Daphnis to play the Pan-Pipes, an instrument that Pan made from reeds (which prior to her transformation were the nymph Syrinx who was trying to flee from his embraces - but that's another story!). Roman statue in the National Archaeolgical Museum, Naples.

The Nymphs were beautiful female divinities of nature. The nymphs who inhabited the mountains were known as Oreads, the nymphs who were associated with the rivers, brooks and springs were the Naiads, the wood nymphs were the Dryads and the tree nymphs were the Hamadryads. They often accompanied other gods and goddesses whose realms and haunts included natural settings.

This painting is one of the most famous depictions of nymphs for its sheer beauty and atmosphere. Entitled "Hylas and the Nymphs", it was painted in 1896 by John William Waterhouse; a masterpiece of English Victorian art in the Manchester City Art Gallery.

Faunus/Pan was notorious for his lusty nature - in fact he was as randy as the goats he protected! Nymphs were his usual target, and they often fled - but here he is depicted playing joyfully with them.
"Nymphs and Satyr", 1873, by French artist Adolphe-William Bouguereau; in Clark Art Institute, Williamstown, MA, USA.

Simple Roman altar dedicated to the woodland god Silvanus. The inscription reads: "To the God Silvanus, Aurelius Quirinus, Prefect, made this". From Eastgate, County Durham, UK; c. 240 AD. In Durham University Museum of Archaeology.

A marble mixing bowl decorated with the personified seasons. From Italy, it is now in the British Museum.

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Fairly literal translation by Tony Kline, 2006

Loose but enjoyable translation by Michel Bulley.

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Very literal translation by Michael Gilleland.

A close translation by Tony Kline, 2003.

English poet and classical scholar A.E. Housman (1859-1936) regarded this ode of Horace as "the most beautiful poem in ancient literature". Housman's translation is beautiful in its own right.

This blogpost compares and contrasts lots of different translations. Which one do you prefer?

Detail of one of the Four Seasons depicted on this complete mosaic in the Bardo Museum, Tunisia.

Detail of one of the Four Seasons depicted on this fragmentary mosaic in the British Museum; originally from the temple at Halikarnassos.

The Graces - also known as the Charities after their Greek name -were the daughters of Jupiter and, as minor goddesses, were the personifications of beauty, grace and favor. Traditionally, they were 3 in number, called Aglaea ("Splendour"), Euphrosyne ("Mirth") and Thalia ("Festivity"). They usually accompanied Venus and Cupid, and Apollo and the Muses, at joyous occasions such as weddings and other festivities.

From ancient times they were usally depicted in their famous "triple pose", joined in a loose huddle with the central Grace showing her back to the viewer. This version from the House of Titus Dentatus Panthera in Pompeii, now in the National Archaeological Museum in Naples, is particularly celebrated.

- Renaissance artists were attracted to the subject, and noteworthy paintings include those by Primavera by Botticelli (in the Uffizi, Florence)and The Three Graces by Raphael (in the Musee Conde, Chantilly, France).

- From Neo-classical times, the most celebrated depiction is Canova's sculpture which the Italian sculptor fashioned in 1814-17, and is now displayed jointly between the V&A London & National Galleries of Scotland.

The Nymphs were beautiful female divinities of nature. The nymphs who inhabited the mountains were known as Oreads, the nymphs who were associated with the rivers, brooks and springs were the Naiads, the wood nymphs were the Dryads and the tree nymphs were the Hamadryads. They often accompanied other gods and goddesses whose realms and haunts included natural settings.

This painting is one of the most famous depictions of nymphs for its sheer beauty and atmosphere. Entitled "Hylas and the Nymphs", it was painted in 1896 by John William Waterhouse; a masterpiece of English Victorian art in the Manchester City Art Gallery.

Zephyrus - or sometimes just Zephyr in English - was both the god of the west wind and the West Wind itself. Despite Homer portraying him as a stormy wind, in all later Classical literature he is regarded as a warm, gentle breeze and usually associated with Spring.

This 1486 painting by Botticelli entitled the "Birth of Venus" shows, at the top-left, Zephyrus and his girl Chloris/Flora, both shrouded in springtime flowers, blowing newly-born Venus ashore in her shell.
Detail.

Trojan hero and legendary ancestor of the Romans. Here he is shown narrating the fall of Troy and his subsequent travels to Dido, queen of Carthage who embraces his son, Ascanius. He will subsequently leave Carthage and sail to Italy to found the Roman nation. The city of Rome will actually be founded some 500 years later by Romulus.

Painting by Pierre Narcisse Guerin, 1819, Musee des Beaux-Arts, Bordeaux.

Tullus Hostilius was the third king of Rome (c.672-640 BC).

This war-mongering king is depicted in full spate of battle in this picture from 1597 by Giuseppe Cesari; in the Musee des Beaux-Arts, Caen, France.

His Wikipedia entry is detailed.

Republican coin of 56 BC depicting Ancus Marcius the 4th King of Rome. Legend records that he was the first king to build an aqueduct to bring water into the city.
More info here from Wikipedia.

A son of Zeus and early king of Crete. Renowned for his wisdom and justice as a lawgiver he became one of the judges over the souls of the dead in the Underworld, along with his brother Rhadymanthus and another just son of Zeus, Aeacus. This image shows a detail of the Judges of the Dead from a Greek vase (c.320 BC). Minos sits enthroned, Rhadamanthys stands on the left wearing a Phrygian cap and robe, whilst Aiakos sits on the right. In the Antikensammlungen, Munich, Germany.

Following the highly-influential Italian poem "The Divine Comedy" by Dante, written 1308-1321, Minos was imagined as a beastly, snake-tailed figure; an image adopted by Michelangelo in his Last Judgement, 1535-41, in the Sistine Chapel in Rome.

Detailed entry about Minos in Wikipedia.

The Roman goddess of hunting, identified with the Greek Aphrodite. Renowned for her virginity and fiercely protecting it, she also protected others who chose a chaste life.

This famous Roman sculpture is a copy of Greek statue attributed to Leochares ca 325BC. Found in Italy, it is now in the Louvre, and known as the "Diana of Versailles".

In Greek mythology, the youth Hippolytus pledged chastity in his devotion to Artemis/Diana. After he rejected the advances of his step-mother Phaedra, she falsely accused him of rape; he was cursed by his father, and he was killed after his horses, terrified by a creature sent from the sea, bolted and he was dragged under his chariot.

The images shows "The Death of Hippolytus, 1611, by Peter Paul Rubens in the Fitzwilliam Museum, Cambridge.

Theseus, a Greek hero, tried to abduct Proserpina/Persephone, the Queen of the Underworld. Not a good idea! They were captured, and according to some versions, Herakles rescued Theseus but was unable to free Pirithous. This Greek vase, c.450, by the Niobid Painter, depicts Herakles standing above two figures thought to be Theseus and Pirithous; in the Louvre, Paris.

Before they went to the Underworld, they abducted Helen of Sparta (of later Troy fame!) and threw dice to see who should have her as a bride - Theseus won. It was then that they decided to go to the Underworld to find Pirithous a bride.

River of the Underworld, whose waters made the souls of the dead forget their earthly lives.

Original artwrok by Requiemm

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Listen to a wonderful recital of Virgil's description of Elysium in this recital of lines 1-15 of the Anthology selection entitled "Elysium" (abridged from Aeneid VI.638-661).

The Anthology extract starts at the 11th line down from this link: "they came to the pleasant places..."

Remember though, that the Anthology extract is cut down from Virgil's full version.

Although Virgil doesn't specifically here state that the area of the Underworld described in this section is Elysium, it is obvious from earlier references (Aenied VI.542; ).

This map of the Underworld, shows Elysium in relation to other parts of the Underworld.

The dwelling place of a few priviliged mortals after death, where through the favor of the gods they lived forever in blissful ease. Elysium is first mentioned by the Greek poet Homer in Odyssey IV.561-8 as being near the stream of Ocean at the ends of the earth, and never sees snow or rain. Hesiod calls this happy place "The Isles of the Blessed". Later writers, including the influential Roman poet Virgil, make Elysium a particular area of Hades (the "Underworld") set apart from the dreary areas inhabited by the souls of ordinary mortals.
Aside from location, the chief point of difference between Homer's Elysium and Virgil's is that Virgil's paradise is not only open to those of divine descent but to all those whose merits qualify them; Virgil also regards Elysium as a "holding area" before the worthy souls are reborn.

As for the image this link takes you to... it's the Elysium Plain on Mars, rendered by Kees Veenenbos.

"Aeneas in the Elysian Fields": the hero enters stage left holding the golden bough accompanied by the Sybil. Art by Dosso Dossi, painted 1518-1521, in the National Gallery of Canada, Ottawa.

Legendary ancestor of the Trojans and king of the area on which was to rise the city of Troy, founded by his great-great-grason Ilus. The Trojans themselves are often called Teucri.

The picture shows the many layers of ancient Troy. The enlarged layer is that of Troy dating 1700-1250 BC, most likely the city that stood during the time of the Trojan War (supposing that there was a mighty Greek-Trojan war!).

Comprehenive and wonderfully illustrated webpage about Apollo, great Olympian god of prophecy, music, healing and light.

A white woolen headband was often worn by those who had some special significence in either religous,a rtistic or sporting affairs.

This painting by Jean-Joseph Taillasson, of 1787, shows Virgil - wearing a white headband - reading the Aeneid to Augustus and his sister Octavia who faints at the references to her recently dead son, Marcellus.

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Scroll down to Epigram I.15 to find the whole 12-line poem. The Anthology extract is merely the last two lines!

Vase with a banqueting scene, dating to the 300's BC, from the Greek colony at Cumae, near Naples.

In the National Archaeological Museum in Naples.

Massive marble vase destined for a Roman garden, depicting dancing maenads (followers of Dionysus). Dating from Roman imperial times, It was found "somewhere" in Italy; now in the Met. Museum, New York.

While Martial's poem isn't necessarily an invocation to get tippsy at every opportunity, this famous painting by the Italian artist Titian called "Bacchanal of the Andrians", (1523-25), seems to encapsulate some of the poet's zest for life. In the Prado Museum, Madrid

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Latin recital of Seneca's poetic couplet.

Our Cambridge Latin Anthology two-line selection is taken from the last lines of a ten-line epigram that is part of a collection of poems known as the Anthologia Latina I.1

[Poem 415 in the 1982 edition edited by Shackleton Bailey].

Seneca may allude here to Morta (Atropos in Greek mythology), one of the Three Fates - known to the Romans as the Parcae. These mythological characters were regarded by some - but probably not the more sophisticated Seneca - as determining the lifespan of every being by spinning, measuring and finally cutting the thread of life.

Seneca, being a Stoic, believed in fate or providence, but also, paradoxically, that human action was free and morally responsible. Tricky one that...

This image, although a commercial logo, splendidly shows Morta/Atropos about to cut a thread...

Here's a more traditional image of the 3 Fates by Rubens, in the Louvre.

Imaginary portrait bust of, and brief info about, the Greek poet Homer - generally regarded as the earliest and greatest of all the Greek poets and whose influence on all later Classical literature was immense.

Follow this link for more information on Homer.

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You'll need to scroll three-quarters of the way down the page to find where the Anthology extract starts at:

"—Yet there will be no pleasant house for you to go to..."

A pleasant, rather free translation "based on" those by Sisson and Rouse.

Starting at line 894 of Book III of Lucretius' De Rerum Natura (ed. William Ellery Leonard). Rather fussy, oldey-worldey translation.

Latin recital of Lucretius' advice (De Rerum Natura III.894-903).