Roman mosaic in the context of "Alexander Mosaic"

The art of Ancient Rome, and the territories of its Republic and later Empire, includes architecture, painting, sculpture and mosaic work. Luxury objects in metal-work, gem engraving, ivory carvings, and glass are sometimes considered to be minor forms of Roman art, although they were not considered as such at the time. Sculpture was perhaps considered as the highest form of art by Romans, but figure painting was also highly regarded. A very large body of sculpture has survived from about the 1st century BC onward, though very little from before, but very little painting remains, and probably nothing that a contemporary would have considered to be of the highest quality.

Ancient Roman pottery was not a luxury product, but a vast production of "fine wares" in terra sigillata were decorated with reliefs that reflected the latest taste, and provided a large group in society with stylish objects at what was evidently an affordable price. Roman coins were an important means of propaganda, and have survived in enormous numbers.

Human sacrifice is the act of killing one or more humans as part of a ritual, which is usually intended to please or appease gods, a human ruler, public or jurisdictional demands for justice by capital punishment, an authoritative/priestly figure, spirits of dead ancestors or as a retainer sacrifice, wherein a monarch's servants are killed in order for them to continue to serve their master in the next life. Closely related practices found in some tribal societies are cannibalism and headhunting. Human sacrifice is also known as ritual murder.

Human sacrifice was practiced in many societies, beginning in prehistoric times. By the Iron Age (1st millennium BCE), with the associated developments in religion (the Axial Age), human sacrifice was becoming less common throughout Africa, Europe, and Asia. During classical antiquity, it came to be looked down upon as barbaric. In the Americas, however, human sacrifice continued to be practiced, by some, to varying degrees until the European colonization of the Americas. Today, human sacrifice has become extremely rare.

Gold ground (both a noun and adjective) or gold-ground (adjective) is a term in art history for a style of images with all or most of the background in a solid gold colour. Historically, real gold leaf has normally been used, giving a luxurious appearance. The style has been used in several periods and places, but is especially associated with Byzantine and medieval art in mosaic, illuminated manuscripts and panel paintings, where it was for many centuries the dominant style for some types of images, such as icons. For three-dimensional objects, the term is gilded or gold-plated.

Gold in mosaic began in Roman mosaics around the 1st century AD, and originally was used for details and had no particular religious connotation, but in Early Christian art it came to be regarded as very suitable for representing Christian religious figures, highlighting them against a plain but glistering background that might be read as representing heaven, or a less specific spiritual plane. Full-length figures often stand on more naturalistically coloured ground, with the sky in gold, but some are shown fully surrounded by gold. The style could not be used in fresco, but was adapted very successfully for miniatures in manuscripts and the increasingly important portable icons on wood. In all of these the style required a good deal of extra skilled work, but because of the extreme thinness of the gold leaf used, the cost of the gold bullion used was relatively low; lapis lazuli blue seems to have been at least as expensive to use.

Volubilis (Latin pronunciation: [wɔˈɫuːbɪlɪs]; Arabic: وليلي, romanized: walīlī; Berber languages: ⵡⵍⵉⵍⵉ, romanized: wlili) is a partly excavated Berber-Roman city in Morocco, situated near the city of Meknes, that may have been the capital of the Kingdom of Mauretania, at least from the time of King Juba II. Before Volubilis, the capital of the kingdom may have been at Gilda.

Built in a fertile agricultural area, it developed from the 3rd century BC onward as a Berber, then proto-Carthaginian, settlement before being the capital of the kingdom of Mauretania. It grew rapidly under Roman rule from the 1st century AD onward and expanded to cover about 42 hectares (100 acres) with a 2.6 km (1.6 mi) circuit of walls. The city gained a number of major public buildings in the 2nd century, including a basilica, temple and triumphal arch. Its prosperity, which was derived principally from olive growing, prompted the construction of many fine town-houses with large mosaic floors.

Chilon of Sparta (Ancient Greek: Χείλων) (fl. 6th century BC) was a Spartan politician credited with the militarization of Spartan society, and one of the Seven Sages of Greece.

Orpheus mosaics are found throughout the Roman Empire, normally in large Roman villas. The scene normally shown is Orpheus playing his lyre, and attracting birds and animals of many species to gather around him. Orpheus was a popular subject in classical art, and was also used in Early Christian art as a symbol for Christ.

The standard depiction in Roman mosaic scenes (for the Romano-British variant see below) shows him seated and playing a lyre or cithara, wearing a Phrygian cap, often beside a tree, and includes many animals drawn and pacified by his playing. The fox was considered Orpheus's special animal and may be placed beside him. In large examples the animals spread to occupy the whole floor of a room. Titles such as Orpheus Charming/Taming the Beasts may be used. Usually the whole scene occupies the same space, but sometimes Orpheus and the animals are each in compartments separated by borders with geometrical decoration. In such cases the compartments with animals are very similar to those in other mosaics with no central figure. An alternative composition shows Dionysus (Bacchus) as the central figure, surrounded by animals, more lively than those around Orpheus.