Velite Aquila

Strange how one of the earliest Roman depictions of a crucifixion is of a Gaul getting crucified (Tomba Arieti, late 3rd to 2nd century B.C.)

Late Roman copy of a Hellenistic Ptolemaic fresco (University of Toronto art museum no M82.291a), Hellenistic boots from Luxor (illustration by M.H. Kriek)

Ptolemaic thureophoros, 2nd century B.C.

Greek Mercenary fighting in Anatolia, early 4th century B.C.

Source:
Graells i Fabregat, R. 2014_Discos-coraza de la Península Ibérica (s. VI-IV a.C.). . R. Graells (2014): Discos-Coraza De La Península Ibérica (s. VI-IV A.C.). JahrbuchRGZM 59. 2012 [2014], 85-244..

Celtiberian mercenary in Italy, early 4th century B.C.

References: Limestone relief from the Syracuse archeological museum (image by Luca Paleologo Palumbo), votive shields (Allard Pierson museum and Princeton university art museum).

Syracusean hoplite, late 4th - early 3rd century B.C.

Gallic mercenary in Syracusean service, 4th century B.C.

References: Mamertine coin (British museum), statuette of a Campanian/Samnite warrior possibly found in Sicily (Louvre Br 124), Doric frieze from Cumae.

Mamertine, late 4th - early 3rd century B.C.

References: Cretan helmet (MET 1989.281.49, .50), cuirass (housed at Museum für Kunst und Gewerbe), mitra (MET 1989.281.51), stele from the Heraklion museum (image by Robin van der Liden).

Cretan hoplite, late 7th century B.C.

Campanian skirmisher from Sarno, 4th century B.C.

Reference: Paestum tomb fresco 26601, various horned pilos helmets (unfortunately many in private collections).

Speculative Italiote infantryman, late 4th - early 3rd century B.C.

Also for the record, the quality of ancient painting is going to vary wildly by period and craftsman, some polychromes from Rome, contemporary with some of the archaic pieces are (though definitely not as blaring bright as the reconstructions) pretty gaudy.

Yes, but as schematic reconstructions they're not meant to be 1:1, in the same way a line drawing of an artifact is meant to be a schematic image of a real artifact.

The colors are pretty schematic and are usually based off legitimate findings but don't often take into account the shading and detailing, which in the case of a reconstruction is understandable though can be interpreted as a bit misleading imo.

Overall a very fun piece, but take it with a grain of salt the size of your head.

The small holes around the disc made be believe some sort of plume could've been sewn/woven in, as crest holders for helmets from Olympia have similar holes, supported by recent speculative reconstructions (image by Andrew Yamato).

This does make identifying who's standard this would be a challenge, as in truth, this standard could be from just about anyone who had fought the Samnites, Campanians, Latins, Greeks, even Roman.

This piece is a very speculative one, I was c0mmed this recently as we had found what was described as possibly being a fragment of a standard from Pietrabbondante, a Samnite sanctuary site where captured weapons and armor would be placed.

Standard fragment from La Regina, Adriano, Le armi nel santuario di Pietrabbondante (2018).

References: possible standard fragment from Pietrabbondante, Samno-Attic helmet from Grotte di Caggiano tomb 2 (image by Dan Diffendale), Trilobe cuirass from the Alfedena necropolis.

Speculative Samnite standard bearer (private comm)

Reference: Panoply of the Shelby White and Leon Levy private collection, once on display in the MET (images from "Glories of the Past: Ancient Art from the Shelby White and Leon Levy Collection ")

Apulian cavalryman, late 4th century B.C

References:
Scythian golden comb from Solokha, kopis found near Kerch, ornamented cuirass found near Yelizavetinskaya, and greaves found near Kerch, all now found in the State Hermitage museum.

Somewhere near the Black sea, late 5th-early 4th century B.C.