Stoic & Moral Philosophy

This circular emblem is the hallmark of the Loeb Classical Library, founded in 1911. It depicts a seated figure in classical attire, likely Athena, symbolizing the series' mission to preserve and disseminate Greek and Latin literature through accessible bilingual editions.

This engraving reproduces a relief panel from a triumphal arch dedicated to Marcus Aurelius, depicting the emperor receiving German prisoners. It serves as a powerful example of Roman imperial propaganda, emphasizing the mercy and dominance of the Roman state over its enemies.

This elaborate headpiece, engraved by Simon Gribelin, features a central coat of arms supported by ornate floral columns and topped with a bull crest. The motto 'LOVE SERVE' is prominently displayed on a banner below, exemplifying the sophisticated heraldic decoration common in high-quality 18th-century publications.

This circular emblem, engraved by Simon Gribelin for Anthony Ashley Cooper, 3rd Earl of Shaftesbury's 'Characteristicks,' presents a complex allegorical landscape. A radiant sun illuminates a scene of human activity and nature, framed by a border rich with symbolic figures and masks. This imagery reflects Shaftesbury's philosophical ideas on the harmony between nature, morality, and human society.

This circular emblem is the official logo of the Loeb Classical Library, depicting a seated figure in classical dress, likely Athena, holding an olive branch. It serves as a symbol of the series' mission to preserve and provide access to the foundational texts of Western civilization.

This detailed engraving depicts the Roman Emperor and Stoic philosopher Marcus Aurelius in profile, crowned with a laurel wreath. Created by the renowned English engraver William Faithorne, it serves as a frontispiece for a 1707 edition of his 'Meditations,' emphasizing his dual identity as both a powerful ruler and a contemplative thinker.

This panel, originally from a triumphal arch, depicts the Roman Emperor Marcus Aurelius on horseback receiving the submission of German prisoners in the field. The scene captures the stoic authority of the emperor and the dynamic interaction between the victors and the vanquished, serving as a powerful piece of imperial propaganda. It is a prime example of the narrative style and psychological depth prevalent in 2nd-century Roman relief sculpture.