Illyricvm is a European historical-adventure film, co-written and directed by Simon Bogojević-Narath. From IMDb:

The year is 37 BC. A young Liburnian Volsus is taken by a Roman unit to help in what at first seems a simple task of collecting taxes, but the encounters with local Illyrian tribes soon lead to unexpected turns of events, as they show more resilience to subjugation than meets the eye. We see their archaic, emotional world of quaint and brutal laws and traditions through the eyes of this youngster, regarded by the Romans as a primitive barbarian, and gradually come to understand that their world is not all that different from our own.

Design for the film was done by Andro Giunio who used Rector for everything from the poster to the title credits.

Written by Edward Gibbon in 1776–1789, The Decline and Fall of the Roman Empire has been published in many editions. This Washington Square Press boxed set from 1962 is very America in the early ’60s: the colors, the informal illustration, and the type – a casual hand-drawn boxy sans with a subtle swelling at the ends, Microflair.

Compare to the 1970s Modern Library edition which also represents its time quite well.

PECUNIA is a project led by historian Anne-Valérie Pont (Sorbonne University), accompanied by young researchers, which aims to explore private interests in public functions, focusing on the development of a new paradigm of power in the cities of the Roman Empire.

Art direction and graphic design by Studio des formes. The typefaces used are Injurial (205TF) – in a customized version that uses a V glyph for the U – and Neue Helvetica Thin as well as Helvetica Light.

Trajánův sloup is Czech for Trajan’s Column, and the Czechoslovak title of Columna, or The Column, a 1968 Romanian historical drama directed by Mircea Drăgan (1932–2017).

The shown movie poster was designed by Czech artist Eva Galová-Vodrážková (b. 1940). The title is in what looks like a hand-drawn version of Sistina. At least the open joints in U suggest as much. It’s an apt choice: after all, the Cappella Sistina is located a mere four kilometers west of the Columna Traiani, just across the River Tiber.

Together with the lighter Michelangelo, Sistina forms a pair of all-caps display companions to Hermann Zapf’s Palatino. It was first cast by Stempel in 1951. The R and the L on the poster are patterned after the narrower alternates included in the original foundry version.

Secondary text is set in caps from Universal Grotesk, the Czechoslovak version of an early geometric sans serif that originated at Wagner & Schmidt in Leipzig. In 2016, Peter Biľak made a digital interpretation as Uni Grotesk.

For the exhibition graphics and wayfinding system of the Lugdunum, Studio Gourdin used Dinamit by Revolver Type.

On Studio Gourdin’s website, we can read:

How can the fascinating Roman history be communicated in all of its facets? How can the stones be made to talk? How can an exhibition enthuse diverse target groups in equal measure? How can the museum be made more accessible, be anchored more firmly in society? What kind of relationship can be forged between one of the most significant archaeological collections in France and the breath-taking architecture of Bernard Zehrfuss? So many aspects that we are to address in our consultations with the museum team. An enthralling journey into the future.

Tamschick Media+Space designed an exhibit and augmented reality experience for the site of the Augusta Raurica Roman ruins in Augst, Switzerland. Aglet Sans’s solid structure with rounded edges creates a friendly technological connotation, from the exhibition design to the accompanying AR app. Aglet works at multiple scales throughout the system in German, French, Italian, and English.

A fairly early use of Davison Arabesque (Photo-Lettering, 1968), for the cover of Pyramid’s paperback edition of Lest Darkness Fall from August 1969. The alternate history science fiction novel was written in 1939 by L. Sprague de Camp. Cover art by Peter Bramley (1944–2005).

[More info on ISFDB]

LTypI alert! Rustikalis for Rusticus: The Passion, Adventure, Intrigue, and Drama of Rome in the Second Century, written by Lonnie C. Mings and published as paperback by Moody Press in 1978. The title typeface is Rustikalis Black in all caps. It’s supported by Univers 75.

In 1962, Photo-Lettering, Inc. issued Art Nouveau Xenotypes 1895–1905, a large collection of revivals of turn-of-the-century alphabets and typefaces. One of these “Xenotypes” added to their catalog around this time was No. 3835, an adaptation of Romanesque, originally designed by Herman Ihlenburg in 1874. The cover of the shown paperback edition of The Vandal from 1962 must have been an early application of this revival.

The cover art is by Mitchell Hooks (1923–2013). From the back cover:

Marius the Vandal, professional soldier, fought hard and well for the Byzantine Emperor. His services were rewarded with rank and privilege seldom given an outlander.

But jealous.eyes watched his rise to power, and court intrigues caught him off-guard as no battlefield maneuver ever could. When he fell in love with the Emperor’s favorite maiden, he was sent away on a clearly hopeless military campaign before the sweetness of their first embrace had left him. The girl was imprisoned in a distant convint …

The secondary typefaces are News Gothic Condensed and Alternate Gothic.

New Roman Times is an album by Camper Van Beethoven, released in 2004 on Pitch-A-Tent Records. The title is a play on the ubiquitous typeface Times New Roman, which is consequentially also used for the typography – unfortunately with faux small caps.

[More info on Discogs]

This exhibition catalog, designed by French duo Michelines (Clémence Michon & Line Célo), is the result of various excavations in the Brumath area during the last decade. The many found objects are perfect testimonies of the whole spectrum of a typical Gallo-Roman city life: urban topography, daily lifestyle, production and exchanges, beliefs and religion, necropolis and death ceremonies.

Full of pictures, the catalog is aimed at enthusiasts and curious people willing to discover the life of ancient men and women who inhabited the land around Strasbourg and, by their craft and commercial trades, contributed to the development of this region.

Echoing rough handicraftsman work, titles are set in the curveless Minotaur (whose name is also a nod to the Roman mythology), while the main text is set with a more refined Novel.

Éditions des musées de la Ville de Strasbourg / 252 pages / 24 × 26 cm

Designed by Huz & Bosshard, the book Vivre à Koenigshoffen à l’époque romaine is about the birth of the town of Koenigshoffen, in Alsace, which is closely linked to the settlement of the Roman army in Strasbourg from the beginning of the 1st century AD.
The designers have chosen the typefaces Petit Serif and Helvetius, both created by Matthieu Cortat, and Maax Mono, created by Damien Gautier.

Musées de la ville de Strasbourg, 2017
272 pages, 24 × 26 cm

What could be more French than Vendôme and Mistral? Romanes.com [in French] has more about this Zodiaque series on art, history, and culture.

Nice reworking of Brody's FF Typeface Six.