Superb Roman Silver Ring with Stylized Heads
Catalogue:
Antiques:
Regional Art:
Ancient World:
Roman:
Pre AD 1000 item# 943369
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Apolonia Ancient Art
303-321-7351 gallery
$1265.00
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This piece is a superb Roman silver ring that dates circa 2nd-3rd century A.D. This piece is solid silver and was cast as one piece, then it was chased and cold worked after the casting. This piece is approximately a size 8, is 7/16 inches wide at the top, and has a light grey patina. There are some very minute scratches which can be seen under magnification, and this is a good indication of authenticity. This piece has two stylized heads that come together in the center, and these resemble dolphin heads, rather than cow/bull heads. The heads are so stylized that they could be spirit animals as well, and as such, this piece could have originally come from ancient Thrace, where many ancient animal cults were active into the Roman period. This ring could be either a "protector" type ring, or a "power" type ring that captured the power of the animal. This piece is very durable, as it was cast as a solid piece, and can easily be worn today. This pieces comes with a gift box and a custom ring stand. Ex: Private German collection. (Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
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Flawless Roman Glass Cup with Ring Base
Catalogue:
Antiques:
Regional Art:
Ancient World:
Roman:
Glass:
Pre AD 1000 item# 924277
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Apolonia Ancient Art
303-321-7351 gallery
$875.00
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This beautiful piece is a flawless Roman glass cup that is in mint condition, with no chips and/or cracks. This piece is a blue/green glass, is approximately 2.8 inches high by 3.8 inches in diameter, and has attractive root marks with a multi-iridescent patina. This piece dates circa 2nd century A.D.-early 3rd century A.D., and has a ring base which is normally seen on larger pieces that are classified as "bowls". An analogous example is seen in "Roman and Pre-Roman Glass in the Royal Ontario Museum " by John Hayes, Toronto, 1975, no. 178. This piece is an exceptional scarce roman glass cup/beaker that is designed as a larger "bowl" type. Ex: Fortuna Fine Arts, New York. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
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Mint Roman Glass Flask with Dainty Handle
Catalogue:
Antiques:
Regional Art:
Ancient World:
Roman:
Glass:
Pre AD 1000 item# 921530
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Apolonia Ancient Art
303-321-7351 gallery
$565.00
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This Roman glass jug is approximately 3.5 inches high and is in mint condition, with no cracks and/or chips. This piece is a light blue/green color, and has sections of a multi-colored iridescence. This piece dates circa late 3rd-4th century A.D., and is classified as a "Late Blue-Green Mould-Blown Series" by John W. Hayes in "Roman and Pre-Roman Glass in the Royal Ontario Museum", Toronto, Canada, 1975, p. 87. This piece is analogous to a piece illustrated in this work and it is no. 432, which also shows vertical fluting on the lower body, inward base with pontil-mark, thin elongated neck, and a very thin applied handle. The handle seen on the piece offered here is very dainty and remarkably thin, but durable. A choice example of Roman blown glass. Ex: Private New York collection. I certify that this piece is authentic as to date, culture, and condition:
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Lively and Rare Roman Silver Griffin Vessel Leg
Catalogue:
Antiques:
Regional Art:
Ancient World:
Roman:
Pre AD 1000 item# 886914
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Apolonia Ancient Art
303-321-7351 gallery
$2875.00
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This rare and lively piece is a cast Roman silver vessel leg in the form of a griffin. This exceptional piece dates circa 4th century A.D. and is approximately 3.4 inches high. This piece was cast via the "lost wax" technique, and as such, this piece is an individual work of art and is a solid heavy piece. The griffin was a composite mythical creature that was typically having a head, forepart, and wings like those of an eagle, and a body, hind legs, and tail like those of a lion. This piece has a lion's paw base, and the head and wings of an eagle. The wings served as an attachment support to a vessel that may have been made of bronze, as there are bronze deposits seen on the back side of each wing. This bronze vessel may have been supported by two additional silver griffin legs that would have formed a tripod base, but more likely, this bronze vessel may have been a square box, as the support wings seen at the back of this silver piece are set at a forty-five degree angle, and a silver griffin leg would have supported each corner of a square box. The griffin for the Hellenistic Greeks, was a creature that symbolized the destroying power of the gods, and for the Romans, the griffin came to symbolize a protective diety. In Roman art, the griffin was often applied in the decoration of friezes, and one of the finest was at the temple of Antoninus and Faustina in Rome. The use of a griffin, regarding the piece offered here, was probably regarded by the prior Roman owner as a protective type motif, and this vessel was a very valuable one, as the individual griffin support legs were made of silver, and other elements of this vessel could have been made of silver as well. An anlogous designed Roman griffin seen in the form of a bronze lamp handle is illustrated in "Die Welt Von Byzanz-Europas ostliches Erbe", by Herausgegeben von Ludwig Wamser, Theiss Pub., 2001, no. 340. The rare silver piece offered here is an exceptional example of late Roman art, as the face of the griffin has a very lively expression and this serves this piece well as a "protector" type piece. This piece has a dark to light grey patina, along with spotty bronze and minute dark black mineral deposits. This piece is mounted on a custom black plexiglas stand. Ex: Private Austria collection (1980's). Ex: Private German collection. (Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
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Roman Bronze Sestertius as Scale Armour
Catalogue:
Antiques:
Regional Art:
Ancient World:
Roman:
Bronze:
Pre AD 1000 item# 872310
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Apolonia Ancient Art
303-321-7351 gallery
$325.00
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This interesting Roman bronze coin is a bronze Sestertius, and was minted circa 60-68 A.D., and depicts a bust of Nero, who was in power circa 54-68 A.D. This coin is approximately 37mm in diameter, is Very Good quality, and has a nice dark green patina with heavy dark green/brown deposits. There are also four holes seen on this piece, and this likely facilitated leather ties which allowed this piece to be fitted into a composite corslet as scale armour. (See attached drawing.) This type of of Roman armour is known, but is extremely rare, and was not often manufactured by the Romans, although the blending of metal leaves interwoven with fabric, was known by the Greeks as early as the 12th century B.C. in Cyprus. (See "Warfare in Ancient Greece" by Tim Everson, Sutton Pub., United Kingdom, 2004, p. 154-155.) This piece could have served as armour during this period, as Rome had a brief, but quick civil war with four Emperors circa 68-69 A.D. This piece also has a deep mark in the center of the coin that was probably a test cut, rather than a battle mark. The test cut was done in order to test that the metal was 100% bronze, rather than a bronze plated "fourree". This test cut was also probably done when this coin was no longer in circulation, and could have been struck circa 68 A.D., when Nero was replaced by Galba. This coin is an interesting piece that had a dual utility. A custom black plexiglas stand is included, and the piece is easily removable as it is attached with clay. Ex: Private English collection. I certify that this piece is authentic as to date, culture, and condition:
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Important Roman Plaque with Seated God Figure
Catalogue:
Antiques:
Regional Art:
Pre AD 1000 item# 856483
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Apolonia Ancient Art
303-321-7351 gallery
Price on Request
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This unique piece is a stamped plaque that is made from lead. This piece is Roman, dates circa 1st century A.D., and is approximately 2.7 inches wide by 2.1 inches high by .15 inches thick. The shape of this piece is oval, and as such, was likely an inlay for a furniture piece, rather than part of a large pendant for a necklace and/or pectoral. The backside of this piece is flat, and this piece was made in the same fashion as a Roman bronze sestertius or medallion coin would have been made, with a carved die that was hand struck into the prepared heated lead flan. This method of manufacture allowed one to make several examples of this piece, as the same die was used over and over again to make more examples. However, the piece offered here may be the only known recorded example, as our research has not found any other pieces. In fact, all of these lead plaques are very rare, as lead is very soft and is easy to damage, melts very easily with a very low melting point, and can simply be used later on in order to make other objects. The edge of this piece shows a line which is the edge of the die, and this edge line is often seen on larger Roman bronze coinage. The piece offered here has a light brown patina with a thin oxidized crust over the outer surface, moreover, the condition of this piece is superb with no major tears, dents, or scrapes as lead is a very soft material. There is a small hole at the top which may have held an attachment pin. This piece shows a seated, virile figure that is seen half draped, and is seen holding a round object in his extended right hand which may be an apple. This seated figure appears to be examining and looking at the round object that he is seen holding up in front of himself, and there is the strong possibility that this figure is the Trojan prince Paris, who is seen contemplating as to whom he should award the prize. According to Greek myth, it was Paris who was chosen by the gods to decide which of the three goddesses - Juno, Minerva, or Venus - was the fairest, and the prize was an apple. Venus won the prize who in turn awarded Paris with the mortal Helen, and this triggered the Trojan War. The Trojan prince Aeneas, subsequently fled the ruins of Troy to found the city of Rome, as praised by the Roman poet Virgil, who prophesied a "new golden age" as founded by Augustus, the first of Roman emperors. Virgil, Horace, and Propertius, who are all considered the greatest writers in Roman literature, all embraced Augustus' propaganda campaign in creating the "myth of Augustus", which fostered the idea that Augustus was the one chosen by the gods to preside over the new empire. This literary propaganda legitimized Augustus' hold on power after the bloody civil wars, and in the same context, there are several Roman works of art that also served the same purpose. The piece offered here may also be one of those rare examples, as the figure seen here (Paris) points back to the founding of Rome. The Portland Vase is another rare Roman work of art that is considered by many academics to fit into this category, and the seated figure seen on the Portland Vase known as "Figure E" is thought to be Paris as well. The artistic style of "Figure E" is also very analogous to the seated figure seen on the piece offered here, as both are seen seated, both are nude except for drapery that falls over the thighs, both have a virile muscular build, and both have the same type of hair style. (See "Glass of the Caesars" by Donald Harden, The British Museum Pub., London, 1987, p.59.) The figure seen on the piece offered here is facing a fountain with a lion's head spout, and at the front is a balustrade, and seen at the back, are architectural elements. The building clearly seen behind the fountain, has a round roof with a set of windows below (early representation of the Pantheon without the portico?), and the overall scene may be intended to be near the Ara Pacis Augustae (Altar of Augustan Peace) in the Campus Martius (Field of Mars), as this fits very well into the "cult of Augustus". The scene may also simply be a case of illusionistic architecture, but the balustrade thought to have extended from the Ara Pacis monument, the Mausoleum of Augustus built opposite the Pantheon which both framed the Campus Martius, and the fact that Augstus was cremated in the Campus Martius near his mausoleum all point to the theory that the scene seen on this unique Roman lead plaque, is indeed a scene set within the Campus Martius. This is an important piece that is obviously in need of further academic study, and as such is an unique example of early Roman imperial art. A custom stand is included. Ex: Private English collection. (Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
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La Collezione Archeologica Del Banco Di Sicilia
Catalogue:
Traditional Collectibles:
Books:
Contemporary item# 821957
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Apolonia Ancient Art
303-321-7351 gallery
$385.00
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La Collezione Archeologica Del Banco Di Sicilia is a boxed two volume set that was printed in 1992 by Edizioni Guida Pub. in Palermo, Italy. This beautiful two volume set is virtually unobtainable in the US, and is a superb corpus of ancient Greek ceramics that were produced in Magna Graecia (Southern Italy). If you are a collector of ancient Greek ceramics, this book is an excellent reference, as there are 648 pieces listed with B&W photos in Vol.1, and Vol.2 has line drawings, detailed descriptions, maps, and lavish color photos of the pieces listed in Vol. 1. Vol.1 is organized with sections such as: Vasi Preistorici, Terrecotte, Ceramica Figurata, Corinthian, Attica, Apulia, Siceliota, and Gnathian. Vol. 2 also groups these pieces into double page color fold outs, with catagories such as Fantastic Animals, Female Divinities, Nike Divinities, War Scenes, and Sport Scenes. This edition was printed as a limited edition and has not been re-printed, and is one of the most comprehensive references for ancient Greek ceramics outside the works produced by A.D. Trendall. All of the text is in Italian, and all the pieces have sizes listed, museum inventory numbers, and dates. The condition of this boxed two volume set is mint, save for some wear on the bottom side of the outer box. This is a very valuable reference for the collector, and one that has many pieces listed.
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Into the Antiquities Trade Book
Catalogue:
Traditional Collectibles:
Books:
Contemporary item# 817549
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Apolonia Ancient Art
303-321-7351 gallery
Price as ordered.
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If you are a neophyte or an advanced collector of ancient art, "Into the Antiquities Trade" by Kevin R. Cheek is a valuable resource and a "must read" for every collector. This book defines and explains the political situation relative to the trade, as seen in the chapter "Who's Who", and offers the collector a viewpoint that "there is no better preserver of ancient art than the private collector". This book also has a chapter "Some Things to Look For" that is useful for many collectors, especially when they are considering a purchase of ancient art. In addition, this chapter has information relative to the testing of ancient works of art for authenticity and the detection of forgeries. This book is offered in both soft and hard cover, and can be ordered online at: www.amazon.com and www.barnesandnoble.com. This book can also be ordered at your local bookstore. ISBN Hardcover: 1-4134-3194-1. ISBN Softcover: 1-4134-3193-3. You may also order direct from the author, Kevin R. Cheek, by calling 305-785-5315 or 303-321-7351, or email: apoloniaco@aol.com.
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Roman Bronze Satyr Figurine with Wine Skin & Patera
Catalogue:
Antiques:
Regional Art:
Ancient World:
Roman:
Bronze:
Pre AD 1000 item# 793075
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Apolonia Ancient Art
303-321-7351 gallery
$3675.00
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This animated Roman bronze figurine is a standing satyr, who is seen filling a patera from a wineskin. This superb piece dates circa 2nd-3rd century A.D. and is approximately 3 inches high. This standing nude satyr, who is seen filling a patera from a wineskin, has bent knees as he is staggering under the weight of the full wineskin. This slightly chubby creature has a round face, a neat cap of wavy hair with a prominent tuft over his forehead, arched eyebrows, smiling mouth, and pointed ears. These features all give this charming bronze figurine a very animated look, and perfectly depict this satyr as an attendant of the Roman god of wine Bacchus, who along with the satyri, engaged in riotous orgies. The patera, held by this satyr, was also used for Roman wine sacrificial ceremonies, and this piece may represent this type of ceremony as well, as a figurine such as this piece may have been part of a private shrine in a wealthy household. (For an analogous example, see the example from the House of the Centenary, Pompeii, now in the National Archaeological Museum in Naples, inventory no. 111495, illustrated in Stefano De Caro, "The National Archaeological Museum of Naples", Naples, Italy, 2001, p.206.) This complete piece is a scarce type, and has a nice dark green patina. This piece is mounted on a custom metal stand. Ex: Private CA. collection. Ex: Fortuna Fine Arts, New York, New York. (Additional documentation is available to the purchaser.) I certify that this piece is authentic as to date, culture, and condition:
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Three Mint Roman Glass Cosmetic Flasks
Catalogue:
Antiques:
Regional Art:
Ancient World:
Roman:
Glass:
Pre AD 1000 item# 783989
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Apolonia Ancient Art
303-321-7351 gallery
$565.00
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These three Roman glass vessels date circa 3rd century A.D., and are mint quality with no cracks and/or chips. These pieces were all blown into various shapes that fit a particular cosmetic and/or unguent. These pieces are approximately 3.2, 2.9, and 2.5 inches high. These pieces are all light green in color and have spotty light brown mineral deposits. Ex: Joel Malter collection, Los Angeles, CA. I certify that these pieces are authentic as to date, culture, and condition:
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Roman Bronze Gladiatorial Ceremonial Sword Hilt
Catalogue:
Antiques:
Regional Art:
Ancient World:
Roman:
Bronze:
Pre AD 1000 item# 771544
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Apolonia Ancient Art
303-321-7351 gallery
$6800.00
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This extremely rare piece is a Roman bronze sword hilt that is in the form of a feathered eagle's head. The eagle is the imperial symbol of Rome itself, and the eyes of the eagle appear to show an intense expression, and this reflects the hard profession of the Roman gladiator. This piece dates circa 1st-2nd century A.D. and is approximately 4.8 inches long by 2.6 inches high. This piece held an iron blade, and the base of the feathered eagle's neck supports a bust of Hercules, which serves as a hand guard. The bust of Hercules is seen with a lion's skin draped over his head, and this depiction of Hercules on a Roman weapon of this type is extremely rare, as Roman bronze sword hilts of this type normally depict a helmeted Minerva. ( For this type with the helmeted Minerva see Christie's Antiquities, London, The Axel Guttmann Collection of Ancient Arms and Armour, Part II, April 2004, no. 173. ) The only other known example of an extremely rare Roman bronze weapon of this type, with the bust of Hercules, is seen in the National Museum Naples, Italy. ( Inventory no. 68308. ) This National Museum Naples example is thought to have come from Pompeii, which had a gladiatorial training school/barracks and one of the earliest gladiatorial amphitheatres in central Italy. This amphitheatre seated twenty thousand spectators, which was many for a small town such as Pompeii. ( For an overview of Pompeii see "Gladiators" by Michael Grant, Barnes and Noble Pub., 1995, pages 40-49.) The exceptional piece offered here may have been used for ceremonial events, as well as combat, and it is also quite possible that the Minerva and the Hercules bust types were used by different types of gladiatorial combatants. This piece is in superb condition for the type, and has a nice dark green patina with spotty red highlights. The box holding the iron blade has a small break seen at the bottom, and this may be battle damage. There is also some spotty wear in sections of the handle and this may also indicate long use of the weapon. An extremely rare weapon that is also a rare type. Mounted on a custom plexiglas display stand, and can easily be removed. Ex: Christie's Antiquities, London, Dec. 1991, no. 182. Ex: Axel Guttmann collection, Berlin, Germany. I certify that this piece is authentic as to date, culture, and condition:
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Cute Roman Bronze Resting Dog: X-Mildenberg
Catalogue:
Antiques:
Regional Art:
Ancient World:
Roman:
Bronze:
Pre AD 1000 item# 769690
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Apolonia Ancient Art
303-321-7351 gallery
$965.00
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This cute Roman bronze dog dates circa 2nd-3rd century A.D., and is approximately 1.7 inches long. This little Roman bronze dog is seen resting on the ground and looks very relaxed. This type of piece was collected by Leo Mildenberg of Zurich, Switzerland, who built a collection of ancient animal art. His collection were all of animals that did not display any signs of violence, and this piece is a prime example. There is minute detail seen on this piece and the hair, eyes, ears, and other features are readily seen. This type of dog is a breed that one can see today, and appears to be a mixed breed. This dog also appears to have some age, and probably was an old trusted and loyal pet. This piece has an attractive dark green patina with some spotty light brown mineral deposits, and has some heavy light brown mineral deposits on the bottom of the flat base. There is also a mounting prong seen extended from the bottom base, and this piece may have been part of a figural group. The mounting prong extends down into the custom wooden base, and this piece can easily be removed. Ex: Leo Mildenberg collection, Zurich. Ex: Private Swiss collection. I certify that this piece is authentic as to date, culture, and condition:
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Mint Roman Tripod Glass Flask
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Antiques:
Regional Art:
Ancient World:
Roman:
Glass:
Pre AD 1000 item# 680518
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Apolonia Ancient Art
303-321-7351 gallery
$485.00
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This mint quality Roman glass flask is in flawless condition with no chips and/or cracks. This light green piece is a scarce "tripod flask", with three legs that were made at the base. This piece stands in an upright position and was made to market a precious oil or unguent. The top was made with a ring below the lip, and this design made the vessel easy to seal. This piece is approximately 3.5 inches high and dates circa early 3rd century A.D. (For a comparable see Hayes, John, "Roman and Pre-Roman Glass in the Royal Ontario Museum", Toronto, Canada, 1975, no. 150.) The above reference suggests that these pieces with pinched feet come from Syria, and the example cited here is also a light green color as the piece offered here. This piece has light brown deposits and is a nice example of Roman glass that is a scarce design. Ex: J. Malter collection, Los Angeles, CA. I certify that this vessel is authentic as to date, culture, and condition:
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Roman Bronze Portrait Bust of a Young Caracalla.
Catalogue:
Antiques:
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Ancient World:
Roman:
Bronze:
Pre AD 1000 item# 665966
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Apolonia Ancient Art
303-321-7351 gallery
$3675.00
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This Roman bronze portrait bust dates circa 2nd century A.D., and is the terminal end for a leg that served as a table support for a folding tripod. These Roman bronze tripods were portable and moved with the Roman armies and/or wealthy families. This piece had a L-shaped hook at the back that supported a caldron that was at the center of the tripod. This piece is in the form of a portrait bust, and may depict the young Roman emperor Caracalla. This bust also has an attribute relative to Herakles, as the figure is seen wearing a lion's skin cloak. The face has a short cropped beard, a rounded nose, and a wide forehead which are prominent features of Caracalla. The head is slightly turned to the right as are many Roman marble portrait busts during this period. The hair is seen as thick rounded curls which may indicate a wig, as Caracalla was known to have worn a golden haired wig that was arranged in the German style. Caracalla was born in 188 A.D., and in 213 A.D. as emperor, he left Rome for Germany and defeated the Alamanni on the upper Rhine River. Caracalla often wore a flowing Gallic cloak which gave him his nickname, and the bust seen here shows a lion's skin cloak that is not only an attribute of Herakles, but is also an attribute of Alexander the Great. After Caracalla's victories in Germany, he planned an invasion of the Parthian east, and in 214 A.D., he mustered a great army for this oriental expedition, including a phalanx of sixteen thousand men, clothed and equipped like the Macedonians of old. Caracalla liked to see himself as a new Alexander the Great, and this may explain the lion's skin cloak seen on this piece. Caracalla met his end in 216 A.D., near Edessa in Media, and was stabbed to death by supporters of Macrinus. This piece may be a portrait of Caracalla for the reasons noted above, and there is a strong possibility that this stylized image is an image of Caracalla as seen in the guise of Alexander the Great. (The portraiture of Alexander the Great is noteworthy for the wide range of styles that were employed to portray his unique physiognomy. The treatment of the hair, for example, can be long and wavy, while others emphasize the cowlick seen above the forehead which is known as the "anastole". This "anastole" can be seen on the piece offered here, with the hair raising up as a curl from the center of the forehead. For several examples of this hair style see F. Antonovich, "Les Metamorphoses divines d'Alexander", Paris, 1996.) This bust is also analogous to the marble bust of Caracalla that is seen in the Staatliche Museen in Berlin, Germany. (See "The Art of Rome" by Bernard Andreae, Abrams Pub., New York, 1977, no. 551.) This marble bust dates circa 212 A.D., and was created on the occasion of Caracalla becoming sole ruler. This marble bust also has large hair curls and bare arms/upper chest, as seen in the bronze bust offered here. This piece is approximately 3 inches high and is mounted on a custom stand. This piece has a superb dark green patina with spotty dark red highlights. Ex: American private collection. Ex: Sotheby's Antiquities New York, Dec. 2006, no. 122. I certify that this piece is authentic as to date, culture, and condition:
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British Celtic Bronze Chariot Terret Ring
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Antiques:
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Pre AD 1000 item# 600190
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Apolonia Ancient Art
303-321-7351 gallery
$1675.00
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This interesting piece is a Celtic bronze ring, otherwise known as a "terret ring". This piece dates circa 1st century B.C.-1st century A.D. and it was reportedly found in the southern coastal region of the United Kingdom. This piece was mounted on a war chariot and was used as a guide for the horse reins, as the reins would pass through the ring and gave the charioteer more control over the horses. This piece is approximately 2.25 inches high by 2.5 inches wide, and is large enough for two sets of reins to pass through. The design of this piece, with the raised center and oval shape, also allowed for better separation of the two sets of reins. There was also a mounting peg that went up the inside bottom, as this piece has a recess hole. This piece was made during the period when Caius Julius Caesar invaded Britain in 55 B.C. The war chariot, with one charioteer and one warrior with a spear and shield, was new to the Romans as a weapon of war. Chariots were used by the Romans as a method of transport and not as a war machine, and not even the Celts of Gaul used a war chariot. The Romans faced two-wheeled and four-wheeled chariots which carried the warriors into the attack. The war chariot was introduced to Britain in the 3rd century B.C. by the Parisi of Yorkshire, the tribe whose Gaulish capital still bears their name (Paris). The Celtic chariots were made of light wooden frames and were elaborately fitted with bronze fittings and wheels with iron rims. The war chariot is featured in many of the sagas of Celtic mythology and the piece seen here is an excellent representation of the native Celts of Britain. This piece has a graceful shape, has a nice dark green patina, and is complete and intact. (See Bonhams Antiquities, London, Dec. 1995, no.339 for a comparative example. 2500-3500 pounds estimate.) This piece is also mounted on a custom clear plexiglas/marble stand. Ex: Private English collection. I certify that this piece is authentic as to date, culture, and condition:
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