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Anthony Majanlahti

@anthonymajanlahti.bsky.social

95 Following1.5k Followers

Historian living in Rome. 🏳️‍🌈 Author of "The Families who Made Rome, a history and a guide" (Chatto, 2004). Currently writing a single-volume urban history of Rome for OUP. Only by knowledge of history can we know our context. Plus, it's fun!

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@anthonymajanlahti.bsky.socialOct 15, 2026, 6:44 PM

If that's a pet rock, what a betrayal!

@anthonymajanlahti.bsky.socialOct 15, 2026, 3:52 PM

"And that was the last thing he said before AI killed all humans."

@anthonymajanlahti.bsky.socialOct 15, 2026, 8:48 AM

Biggar is not Bettar.

@anthonymajanlahti.bsky.socialOct 14, 2026, 8:16 PM

Which Ramesses? There were so many of them...

@anthonymajanlahti.bsky.socialOct 14, 2026, 7:37 PM

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@anthonymajanlahti.bsky.socialOct 14, 2026, 7:35 PM

The #Simonetti marble corrected centuries of misunderstanding caused by this recarved #Berlin version. Beyond changing a bloody dagger into a branch, an unknown C16 restorer deepened the drapery folds. What the Berlin relief monumentalises, the Simonetti relief humanises.

RELIEF OF MEDEA AND THE PELIADES, C2 CE, FROM AN ATTIC ORIGINAL OF 420-410 BCE. RECARVED C. 1550. ANTIKENSAMMLUNG BERLIN

Better, no? Actually, no. This is a heavily-restored Roman marble relief of the same scene. The bottom of the left side is a restoration in different marble. First recorded before 1550, this piece was hugely influential in the development of neoclassicism. For centuries, it was taken as an intact ancient copy of one side of the base of the Altar of the Twelve Gods in Athens. The unrestored Simonetti version unmasked the Renaissance alterations here: the restorer changed the rightmost Peliad's dagger into flowers, and heavily recarved the draperies into deep, dramatic folds of heavy cloth. By contrast, the Simonetti Peliades wear softer, thinner chitons, rumpled and informal, bringing an intimacy that makes the action less remote, and their dawning horror much more direct.
@anthonymajanlahti.bsky.socialOct 14, 2026, 7:35 PM

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@anthonymajanlahti.bsky.socialOct 14, 2026, 7:27 PM

For #ReliefWednesday, we examine this C2 CE #Roman copy of a C5 BCE #Greek #relief of #Medea and the Peliades. Discovered in 1814 at palazzo De Carolis on via del Corso, its wear pattern suggests it was used upside down as a paver. Now in the #VaticanMuseums. #AncientBluesky 🏺

RELIEF OF MEDEA AND THE PELIADES, C2 CE, FROM AN ATTIC ORIGINAL OF 420-410 BCE. VATICAN MUSEUMS

A worn marble relief. Three women stand around a cauldron on a tripod. The figure at left, with her strange Phrygian headdress and upright posture, is the witch Medea, holding her pyxis of magical ingredients. She is meant to be recognisably foreign: the much-feared "woman from another land", indicating her otherness. She wears a thick peplos over her soft chiton, because she knows she's going to have to leave in a minute. The daughters of Pelias are only wearing chitons as they undertake the pious filial duty of chopping up their father and putting the parts in the cauldron so that thanks to Medea's magic he can arise rejuvenated. The wear pattern suggests it was used upside down as a paving stone. Discovered in 1814 during building works at palazzo De Carolis on the Corso, the Simonetti family kept it raw. In 1844, Gregory XVI bought it for his Lateran museum; in 1970, it moved to a brutalist building in the Vatican.
@anthonymajanlahti.bsky.socialOct 14, 2026, 11:26 AM

"It's a Mr Death from the village. He's come about the reaping...?" "Don't just stand there in the door, darling! Invite him in for a drink!"

@anthonymajanlahti.bsky.socialOct 13, 2026, 12:58 PM

Thanks, Liz! These objects all tell multiple stories and they're rarely obvious, so I like to find something out about each one and associate at least one story with it.

@anthonymajanlahti.bsky.socialOct 13, 2026, 6:26 AM

The crowdwalls are worse yet!

@anthonymajanlahti.bsky.socialOct 12, 2026, 3:58 PM

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@anthonymajanlahti.bsky.socialOct 12, 2026, 3:57 PM

Before 1777, Falerio Picenus was a nearly perfectly-preserved #Roman town. Then Pius VI’s diggers arrived. For #MosaicMonday, we examine this Antonine-era leopard #emblema, stripped from a private #domus and treated as #spolia in the Vatican's Scala Simonetti. #AncientBluesky 🏺

ROMAN MOSAIC EMBLEMA OF A LEOPARD FROM FALERIO PICENUS, MID-LATE C2 CE. VATICAN MUSEUMS

A Roman mosaic panel featuring a leopard walking left, depicted with brown and ochre tesserae, framed by a guilloche border. Falerio Picenus was a pristine Roman town until 1777, when Pope Pius VI's excavators arrived to furnish the Museo Pio-Clementino. Stripped from a private domus and cemented into the Scala Simonetti as spolia, this emblema invites reflection. Devoid of Dionysian symbols, the leopard is pure physical threat. Yet, frozen in mosaic, it is utterly tamed. For the Roman diners reclining above it, this apex predator was a conversational set-piece about empire, bringing the wild safely into the domestic sphere. Ultimately, the true predator was not the leopard, but the papal excavators. The homeowners were safe from the beast beneath their feet, but Falerio Picenus had no protection from the C18 diggers who tore the town apart to feed the Vatican collections.
@anthonymajanlahti.bsky.socialOct 11, 2026, 8:19 PM

One important goal of mine is to provide a nice break from, well, never mind!

@anthonymajanlahti.bsky.socialOct 11, 2026, 8:16 PM

"We"! Are you deciding who gets tenure?

@anthonymajanlahti.bsky.socialOct 11, 2026, 8:01 PM

The ALT text is really where I develop the themes I want to discuss - I'm glad you like them!

@anthonymajanlahti.bsky.socialOct 11, 2026, 7:58 PM

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@anthonymajanlahti.bsky.socialOct 11, 2026, 7:56 PM

The C2 CE Varese #Athena, now in palazzo #Torlonia on via della Conciliazione. Sold in 1876 by then-owners of palazzo #Varese, it represents the only traceable piece from the original collection.

THE VARESE ATHENA, C. 180-190 CE. PALAZZO TORLONIA

This magnificent statue hints at what was lost from palazzo Varese when in 1876 its owners at the time, the Calabresi Talenti family, decided to sell the statues that had been in the building for 200 years and more. The buyers were the Torlonia family, avid "collectors of collections", who had already snapped up the Albani and Giustiniani collections. This statue was known as early as 1524, when it had a different head and an inscription on its base that has now vanished. Its current appearance is due to C19 restorations, including the head and neck, the top of the tree, the owl, her forearm, and the front of the shield. The heavily-draped white marble statue of Athena is shown against a dark background, wearing a Corinthian helmet and holding a shield, while her hand rests on a gnarled tree trunk coiled by a serpent.
@anthonymajanlahti.bsky.socialOct 11, 2026, 7:56 PM

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@anthonymajanlahti.bsky.socialOct 11, 2026, 7:54 PM

A #watercolour sketch from 1821 by the visiting #French artist Augustin-Théophile Quantinet shows us what the courtyard of palazzo #Varese looked like before. The #fountain in the #garden looks delightful, and two ancient statues in niches flanked the portal leading to it.

AUGUSTIN-THÉOPHILE QUANTINET. VIEW OF THE COURTYARD OF PALAZZO VARESE, 1821

Here we can see Maderno's simple original project for the courtyard, which he built at the same time as he was finishing his spolia-clad masterpiece, the courtyard of palazzo Mattei di Giove. The columns in the foreground are spolia, probably removed from the atrium of Old St Peter's. The ground is paved in delicate herringbone brick, and the original arch, then topped with two busts and not much else, was flanked by niches containing two of the Varese statues, now dispersed. It must have been lovely to sit in the garden overlooking the Tiber, and watch the fountain. This is what we have lost.
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