DOCSLIB.ORG

The Dress and Colour of Mithraism: Roman Or Iranian Garments?

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Dress and Colour of Mithraism: Roman Or Iranian Garments? Mannheimer Geschichtsblätter Sonderveröffentlichung 4 Titel o. Abschnitt Manel García Sánchez The dress and colour of Mithraism: Roman or Iranian garments? As a result of the rise of Eastern cults, dress and a comparative study of the Iranian (Avestan) texts colour became an identity trait in the sphere of – not much more eloquent than the classical sour- religion, with Mithras dressed in Asian style, in ces, by the way –, and through the iconography of Persian trousers, a star-spangled mantle and a dress among Iranian peoples in Antiquity, a source Phrygian cap, combined with all the symbolism of that is of considerable use in determining whether the colours which we can also interpret from the the dress of the god himself and his assistants, the iconography of Mithraism. The aim of our study of torchbearers Cautes and Cautopates, or the dress the dress and colours of Mithraism is to determine of his worshippers, was either typically Roman, or whether in the context of the Roman Empire, the borrowed from the Iranian 6 or Phrygian culture, or polychromatic ritual dress of Mithras was Roman, simply the refl ection of a stereotyped, generic way Iranian or Phrygian. In short, through the dress of of representing an Oriental in the Roman world. Mithraism we set out to study the construction An examination of the dress and colour of process of Roman identity on one hand and on the Mithraism forces us to take sides in the heated other hand the ways of representing otherness. controversy over the Oriental origin of the cult In refl ecting on the hermeneutic exercise as and its rites between, on the one hand, the tradi- applied to the study of Mithraic iconography, R. tional interpretation upheld by the Belgian scho- Turcan wrote: “Les images sont un langage dont les lar F. Cumont and the “école iranisante”, 7 with L. éléments sont faits pour être compris en fonction A. Campbell as its foremost representative, which d'un vocabulaire commun au sculpteur et au spec- defi nes Mithraism as “la forme romaine du maz- tateur de son oeuvre, en l'occurrence au responsa- déisme or a parsisme hellénisé“, 8 and, on the other ble et aux fi dèles de la communauté mithriaque”. 1 hand, the Occidentalist interpretation, put forward In view of the paucity of relevant information in the by S. Wikander, 9 R. L. Gordon 10 and M. Clauss, 11 among literary sources on the dress and colours of Mithra- others, which views Mithraism as a genuine creati- ism it is essential to interpret the iconographic on of the Roman world, especially in the Danubian sources and attempt to guess whether both dress territories, in Rome or in Ostia, although this polemic and colour hid a symbolic meaning important for could be resolved with R. Turcan’s sensible statement the worshippers of the Mithraic communities, for as that “si Mithra est iranien, le mithriacisme est gréco- R. Turcan pointed out, “l'art mithriaque est comme romain”, 12 or with M. Clauss that Mithraism was an un livre d'images dont le texte serait perdu” 2 and independent creation in Roman context. 13 the Mithraic iconography is like a “Bibles de Pierre”. 3 Nor, in the study of the dress and colour of J. Alvar has also drawn attention to the impor- Mithraism, can we disregard the interpretations tance of examining, in the mysteries in general, given by D. Ulansey, J. R. Hinnells, R. L. Gordon, R. Beck something that has hitherto been neglected – the and all those authors who, to a greater or lesser signifi cance of colours and textures, i.e. sensory extent, have taken their distance from Cumont’s perception. 4 At all events, in the absence of detailed hypothesis concerning the Iranian origin of Roman accounts of the “Mysteria Mithrae” or the dress of Mithraism and developed the “new astronomical the god or his worshippers in the literary sources, interpretation of the tauroctony”, an interpretation except for some occasional mentions, such as the fi rst put forward by K. B. Stark in 1869, which sees in one by Lucian about Mithras’s dress, 5 of a kaftan Mithraic iconography a “cosmological code”, 14 and and a tiara, we have to make do with an attempt which should also be considered in relation to the to decipher the latent meaning in the Mithraic latent symbolism in the colour and dress motifs. iconography, though without losing sight of the But in a study of the construction process of provisional and hypothetical nature of such an Roman identity through dress in general, and at a interpretation. We can fi nd some help, however, in colloquium on “Dress and Religious Identities in the 123 Titel o. Abschnitt Sonderveröffentlichung 4 Mannheimer Geschichtsblätter The dress and colour of Mithraism: Roman or Iranian garments? Roman Empire” in particular, it is imperative, when and Cautopates. 22 Unlike the Parthians and the Sas- looking at the dress and colour of Roman Mithra- sanians, these last-mentioned were never depicted ism, to try to answer the question formulated by R. in a humiliating, inferior or submissive position. But Beck concerning Mithraism in general: how much this discovery is not new, as F. Cumont anticipated is there that is “genuinely Iranian” and how much it by a century when, writing about the creation is there that is “reinvented Perserie” 15 behind the of an archetypal image, of an Orientalising cliché epithet “Persian”? This set of mental tools – “Per- that found in dress its most eloquent feature for serie” – had already arisen before in the forms of representing otherness, he remarked: that the dress representation of Persian Achaemenid otherness in of Mithra couldn’t be too accurate to the Persian the Greek “imaginaire”. 16 It consisted in a psycho- original model. 23 And it might be advisable to try logical mechanism of appropriation prior to the to put an end to the lack of precision in the use of domination of the eternal border enemy – a defen- the terms Persian, Phrygian and Oriental dress in ce mechanism that A. Mastrocinque has defi ned Mithraic historiography. for the Roman world in a revealing way: “Le culte The hypothesis proposed by D. Ulansey 24 is an- du dieu persan et la parenté entre Romains et Per- other of those in which Mithras is represented as ses posaient les prémisses de l'extension du droit the archetypal fi gure of an Oriental. Basing him- romain sur l'Iran”– 17 and a process the reverse side self on F. Saxl, 25 Ulansey believes he has discovered of which were the forms of representation of Par- the model for the iconographic representation of thian and Sassanian otherness, 18 in which the Asian Mithras in the Perseus of the Greek world, repre- always appeared subjugated, defeated, dressed in sented in his constellation as the fi gure of a young barbarian and feminine fashion (“laxae vestes”, hero armed with a dagger and also wearing a Phry- “fl uxa velamenta”), combined, moreover, with the gian cap. According to what we read in Herodotus, barbarian garment 'par excellence' in the classical Perseus was a hero linked in the Greek imagination imagination: long trousers. 19 with Persia and the Persians as the result of a simi- In the process of the construction of Roman lar exercise to the one the Romans are supposed identity through religion, dress must have been a to have performed with Mithras, whom they regar- decisive factor, for, as R. M. Schneider has pointed ded as of Iranian origin. 26 As argued by R. Turcan out: “From antiquity to the present day dress codes this would also seem to follow from the expres- have played a key role in visualizing the difference sion “Persei sub rupibus antri” in Statius’s poem between West and East, friend and foe”. 20 In Roman “Thebais”, which it is "la plus ancienne attestation representations of an Oriental, the posture, the littéraire d'une iconographie mithraique as tauroc- dress, the physiognomy and the hairstyle might tones".27 Although the passage in question makes refl ect an ethnic archetype such as the Parthians no mention of the god’s dress, it does reveal, as R. and Sassanians, or simply a generic “Oriental”, the Turcan has pointed out, that the image of Mithras last-mentioned usually represented as a good-loo- was already present at that time in the imagination king youth with long hair and Eastern dress, almost of the Roman epic poet’s audience or readership. always with a Phrygian cap ( πῑλο̋ ) and barbarian Moreover, Statius’s scholiast, Lactantius Placidus, long trousers ( ἀναξυρίδε̋). In Roman art, the repre- noted that the Persians were the fi rst to worship sentation of all Eastern peoples was adapted to fi t the Sun in caves, a Sun which according to the scho- this archetype of the Oriental. This applies to the liast appears “in Persian dress with a tiara” (“Persi- Parthians and later the Sassanians, although they co habitu cum tiara”), 28 in other words, like Mithras were both always represented as vanquished, 21 the with his Oriental “pileus”.29 Trojans Ganymedes and Paris, the Persians, the However, F. Cumont was the fi rst one to deter- castrated “Galli”, many of the representations being mine, thanks precisely to the aid of the god’s Phry- of handsome servants and cupbearers, sometimes gian dress, where and when Mithras’ image was with the function of table legs, and divine perso- conceived, Orientalising or Iranianising the popular nages such as Attis, Orpheus and, of course, the iconography of the Νικὴ βουθυτοῦσα. According to “deus pileatus” Mithras and his companions Cautes Plutarch, we should look to Tarsus, the city in which 124 Mannheimer Geschichtsblätter Sonderveröffentlichung 4 Titel o.
Load more

Recommended publications
  • The Influence of Achaemenid Persia on Fourth-Century and Early Hellenistic Greek Tyranny
    THE INFLUENCE OF ACHAEMENID PERSIA ON FOURTH-CENTURY AND EARLY HELLENISTIC GREEK TYRANNY Miles Lester-Pearson A Thesis Submitted for the Degree of PhD at the University of St Andrews 2015 Full metadata for this item is available in St Andrews Research Repository at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/11826 This item is protected by original copyright The influence of Achaemenid Persia on fourth-century and early Hellenistic Greek tyranny Miles Lester-Pearson This thesis is submitted in partial fulfilment for the degree of Doctor of Philosophy at the University of St Andrews Submitted February 2015 1. Candidate’s declarations: I, Miles Lester-Pearson, hereby certify that this thesis, which is approximately 88,000 words in length, has been written by me, and that it is the record of work carried out by me, or principally by myself in collaboration with others as acknowledged, and that it has not been submitted in any previous application for a higher degree. I was admitted as a research student in September 2010 and as a candidate for the degree of PhD in September 2011; the higher study for which this is a record was carried out in the University of St Andrews between 2010 and 2015. Date: Signature of Candidate: 2. Supervisor’s declaration: I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appropriate for the degree of PhD in the University of St Andrews and that the candidate is qualified to submit this thesis in application for that degree.
    [Show full text]
  • The Unique Nature of the London Mithraeum
    The Post Hole Issue 41 The Unique Nature of the London Mithraeum Chase Minos1 1 School of Classics, Swallowgate, Butts Wynd, St Andrews, Fife, KY16 9AL. Email: [email protected] The mystery cult of Mithras was a religious phenomenon that was, for the most part, propagated through, and associated with, the Roman military. Many inscriptions and temples on the frontiers of Rome indicate that it extended from Britain to Dura Europos, and from the Rhine to the Nile over three centuries (Clauss 2000, 16). The Temple of Mithras in the Walbrook stream valley was perhaps the largest and most significant Mithraeum found in Britain, despite being an accidental discovery (Shepherd 1998, 13). Peculiarly, this Mithraeum’s location and size suggest that the nature of the cult might not have been as firmly connected with the Roman army as once thought. Mithraism was affected and influenced by local practices, gods and social changes within the Roman Empire, as will be made clear in some of the iconography discussed below (Clauss 2000, 16). Figure 1. Distribution of Inscriptions, Altars and Mithraea in Britain, Pannonia Superior, Germania and Dacia. Vermaseren, M.J. 1956, 449. Four legions were originally stationed in Britain but, after the first century this was reduced to three. During the next three centuries they gradually decreased in size (Mattingly 2006, 130-131). Initially they were the II Augusta, XIV Gemina (Martia Victrix post 61CE), the XX Augusta (Valeria Victrix post 61 CE) from Lower Germany, and the IX Hispana from Pannonia; six legions in total www.theposthole.org 34 The Post Hole Issue 41 are attested to have served in Britain including the II Adiutrix and VI Victrix (Daniels 1975, 249).
    [Show full text]
  • The Ependytes in Classical Athens
    THE EPENDYTES IN CLASSICAL ATHENS (PLATES 51-55) To the memoryof Richard D. Sullivan T HE FEW REFERENCES to the ependytes in Classical Greek literature occur in three fragments of Attic drama preserved by Pollux (VII.45): XLTWV EpELSSXLTCTVLOTKOS' XLTCeJVLOV, LaTLOV. ETEL E KaL 0 E(XEV8VVT7)S- EOTLV EV T7 TCV 7OXX XP7OEL, OOTLS' /3OVXOLTO KaL TOVTC TO ovo4LalTL /07)OE^LV .avIX() OVTL, XA7pTTEOvavro EK TCeV 1o00OK\EOVS1 IXvvTpLCOV (TrGF, F 439): 7rE-atXOVSTE v77oaL XLVOYEVE^LST' E'JTEv8VTas. KaL ?EOT7LS UE 7TOVO')TLV EV T^ HEvOEZL(TrGF, I, F 1 c): 'pyq( VOMLJ'EVE/3PL' EXELTEV 3VT7_VV. aVTLKPVS'86E OKELTO E'VTi- NLKOXacpovs,'HpaKXEL X0PopYW (I, p. 771.5 Kock): 4pEPEVVZV TaXECos, XLTCvJa TOVO E7XEV8VTflV Tf VVVXP/3VVXEL EL LV. The lines are disappointingly undescriptive,indicating only that an ependytes can be of linen and is somehow associatedwith the chiton, and that at an earlier period (?) it had a more general meaning, closer to the root of the word, as "thatwhich is put on over."1 Works frequently cited are abbreviatedas follows: Add = L. Burn and R. Glynn, Beazley Addenda,Oxford 1982 Bieber = M. Bieber, History of the Greekand Roman Theater,2nd ed., Princeton 1981 Burn = L. Burn, The Meidias Painter, Oxford 1987 Laskares = N. Laskares, Mop4aL LEpE'(V (X;r'LapXaLov MV7JEfLV?>>, AE?\T 8, 1923 (1925), pp. 103-116 LSAM = F. Sokolowski,Lois sacre'esde l'Asie Mineure, Paris 1955 LSCG = F. Sokolowski,Lois sacreesdes cite'sgrecques, Paris 1969 LSCG-S = F. Sokolowski,Lois sacre'esdes cite'sgrecques. Supple'ment, Paris 1962 Mantes = A. G.
    [Show full text]
  • A Study on the Design and Composition of Victorian Women's Mantle
    Journal of Fashion Business Vol. 14, No. 6, pp.188~203(2010) A Study on the Design and Composition of Victorian Women’s Mantle * Lee Sangrye ‧ Kim Hyejeong Professor, Dept. of Fashion Design, TongMyong University * Associate Professor, Dept. of Clothing Industry, Hankyong National University Abstract This study purposed to identify the design and composition characteristics of mantle through a historical review of its change and development focusing on women’s dress. This analysis was particularly focused on the Victorian age because the variety of mantle designs introduced and popularized was wider than ever since ancient times to the present. For this study, we collected historical literature on mantle from ancient times to the 19 th century and made comparative analysis of design and composition, and for the Victorian age we investigated also actual items from the period. During the early Victorian age when the crinoline style was popular, mantle was of A‐ line silhouette spreading downward from the shoulders and of around knee length. In the mid Victorian age from 1870 to 1889 when the bustle style was popular, the style of mantle was changed to be three‐ dimensional, exaggerating the rear side of the bustle skirt. In addition, with increase in women’s suburban activities, walking costume became popular and mantle reached its climax. With the diversification of design and composition in this period, the name of mantle became more specific and as a result, mantle, mantelet, dolman, paletot, etc. were used. The styles popular were: it looked like half-jacket and half-cape. Ornaments such as tassels, fur, braids, rosettes, tufts and fringe were attached to create luxurious effects.
    [Show full text]
  • The Roman Art Treasures from the Temple of Mithras
    Front cover: Head of Mithras Back cover: Temple of Mithras. Visitors watching excavations in progress, 1954 Full details of membership and other publications can be obtained from the Honorary Secretary, London & Middlesex Archaeological Society, c/o Museum of London, 150 London Wall, London EC2Y SHN, or 3 Cedar Drive, Hatch End, Pinner, Middlesex HAS 4DD. The Roman Art Treasures from the Temple of Mithras THE ROMAN ART TREASURES FROM THE TEMPLE OF MITHRAS By j.M.C. Toynbee SPECIAL PAPER No.7 LONDON AND MIDDLESEX ARCHAEOLOGICAL SOCIETY 1986 The Society is grateful to the Historic Buildings & Monuments Commission for England and the Museum ofLondon for grants towards the cost ofthe publication ofthis report. ISBN 0 903290 31 6 1~~~E51 Printed in Great Britain by IX"U Page Bros (Norwich) Ltd CONTENTS Page Preface IV Introduction: the Archaeological Background, by \\". F. Grimes I List of Abbreviations 4 PART I Catalogue Second-century icorks in imported marble (Xos. 1-9) I. Head of ~lithras 5 2. Head of Minerva 10 3. Head of Serapis 13 4. Xlercurv group.............................................................................................................................. 18 S. Colossal hand of Mithras Tauroctonos 21 6. Small torso of Bacchus from narthex area 23 7. Small torso of Bacchus reused as building-stone........ 24 8. \Yater deitv................................................................................................................................... 25 9. Genius 27 Third-century u.ork in imported marble (:\"0. 10) 10. Relief of Mithras Tauroctonos 29 Third-century icorks in British stone (Xos, 11-13) 11. Left hand and forearm of Mithras Tauroctonos 31 12. Relief of Cautopates 32 13. Relief of Dioscurus 34 Thirdt:')-century works in importedmarble (:\"os.
    [Show full text]
  • Clothing in Ancient Greece Edited
    Clothing in ancient Greece Clothing in ancient Greece and Rome was generally created out of large, single pieces of fabric. Several different pieces of clothing could be worn in various combinations to create multiple outfits. The fabric was also draped, belted and pinned into various styles. In art, it is sometimes very difficult to differentiate the various garments worn as they all seem to be billowy drapes of fabric. In Greece, women usually wore one of two garments on a regular basis. One was the peplos, a style of dress made from a single piece of fabric that is folded over at the top, wrapped around the body and pinned up at the shoulders. Folding down the top created a second layer of fabric that ran down the back and the front of the garment, which was referred to as an apoptygma. The other piece of clothing was worn by both men and women, and was called a chiton. The chiton was very similar to the peplos, except without the apoptygma. This was created by a single piece of fabric wrapped around the body and pinned up on the shoulders, or by two pieces of fabric sewn up both sides with space left for armholes. The men wore a shorter version of the chiton. This, too, could be belted or left as-is. The pins that were often used to hold up these garments worked very similarly to safety pins or brooches, and were called fibulae. The other important piece of clothing for both men and women was called the himation.
    [Show full text]
  • Peaceful Pluralism; the Durene Mithraeum, Synagogue, and Christian Building," Journal Vol: Journal Issue: Journal Year: 2011 Article Pages: 189-199
    r 10/29/2014 LionMail Mail - ILL RequestTN 538887 uoN f\A A I L Abigail E. Reiss <[email protected]> ',"c:() L U tv\ B I;\ ILL Request TN 538887 1 message Columbia University Libraries ILL/Lending <ill- Wed, Oct 29, 2014 at 11:37 [email protected]> AM To: [email protected] Columbia University ILL Request for Copy Borrowing Library: RBN TN #: 538887 ILL #: 134510316 Lending String: *ZCU,PUL,COO,PAU,BXM,AUM,T JC,WEL,IQU,MBB,SNN,SNN Aging Date: 20141028 Call Number: DS99.D8 D87 2011g Location: Avery Notes: Journal Title: Dura-Europos ; crossroads of antiquity / Pub: Chestnut Hill, Mass. ; McMullen Museum 0 Article Author: Patricia Deleeuw Article Title: A Peaceful Pluralism; The Durene Mithraeum, Synagogue, and Christian Building," Journal Vol: Journal Issue: Journal Year: 2011 Article Pages: 189-199 ***ARTICLE OR CANCELLATION NOTICE MUST BE RECEIVED IN ILL (307 BUTLER) WITHIN TWO BUSINESS DAYS. THANKS FOR YOUR COOPERATION.**** Please contact 212-854-3542 or email [email protected] with any questions. Columbia University Interlibrary Loan 307 Butler Library 535 W. 114th Street New York, NY 10027 https://mail.google.com/mail/ulOl?ui=2&ik=c8034d1164&vi ew= pt&search= inbox&th= 1495cdSdb48f4b5f&si m I= 1495cdSdb48f4b5f 1/1 ~~~Lc- D> ~3 "D~~ D~1 dD\\) This publication is issued in conjunction with the exhibition Dura-Europos: Crossroads of Antiquity, org, niz d by the YaleUniversity Art ellery and the McMullen Museum ofArt, Boston College. McMullen Museum of Art, Boston College February 5-June 5, 2011 Organized by the Yale University Art Gallery and the McMullen Museum of Art, Bast n 011 g , Dura-Europo: rotsro d of A"liquity ha been curated by Lisa R.
    [Show full text]
  • Clothing Terms from Around the World
    Clothing terms from around the world A Afghan a blanket or shawl of coloured wool knitted or crocheted in strips or squares. Aglet or aiglet is the little plastic or metal cladding on the end of shoelaces that keeps the twine from unravelling. The word comes from the Latin word acus which means needle. In times past, aglets were usually made of metal though some were glass or stone. aiguillette aglet; specifically, a shoulder cord worn by designated military aides. A-line skirt a skirt with panels fitted at the waist and flaring out into a triangular shape. This skirt suits most body types. amice amice a liturgical vestment made of an oblong piece of cloth usually of white linen and worn about the neck and shoulders and partly under the alb. (By the way, if you do not know what an "alb" is, you can find it in this glossary...) alb a full-length white linen ecclesiastical vestment with long sleeves that is gathered at the waist with a cincture aloha shirt Hawaiian shirt angrakha a long robe with an asymmetrical opening in the chest area reaching down to the knees worn by males in India anklet a short sock reaching slightly above the ankle anorak parka anorak apron apron a garment of cloth, plastic, or leather tied around the waist and used to protect clothing or adorn a costume arctic a rubber overshoe reaching to the ankle or above armband a band usually worn around the upper part of a sleeve for identification or in mourning armlet a band, as of cloth or metal, worn around the upper arm armour defensive covering for the body, generally made of metal, used in combat.
    [Show full text]
  • Cosmological Narrative in the Synagogues of Late Roman-Byzantine Palestine
    COSMOLOGICAL NARRATIVE IN THE SYNAGOGUES OF LATE ROMAN-BYZANTINE PALESTINE Bradley Charles Erickson A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Religious Studies. Chapel Hill 2020 Approved by: Jodi Magness Zlatko Plese David Lambert Jennifer Gates-Foster Maurizio Forte © 2020 Bradley Charles Erickson ALL RIGHTS RESERVED ii ABSTRACT Bradley Charles Erickson: Cosmological Narrative in the Synagogues of Late Roman-Byzantine Palestine (Under the Direction of Jodi Magness) The night sky provided ancient peoples with a visible framework through which they could view and experience the divine. Ancient astronomers looked to the night sky for practical reasons, such as the construction of calendars by which time could evenly be divided, and for prognosis, such as the foretelling of future events based on the movements of the planets and stars. While scholars have written much about the Greco-Roman understanding of the night sky, few studies exist that examine Jewish cosmological thought in relation to the appearance of the Late Roman-Byzantine synagogue Helios-zodiac cycle. This dissertation surveys the ways that ancient Jews experienced the night sky, including literature of the Second Temple (sixth century BCE – 70 CE), rabbinic and mystical writings, and Helios-zodiac cycles in synagogues of ancient Palestine. I argue that Judaism joined an evolving Greco-Roman cosmology with ancient Jewish traditions as a means of producing knowledge of the earthly and heavenly realms. iii ACKNOWLEDGEMENTS I wish to express my sincere appreciation to my adviser, Dr.
    [Show full text]
  • Introduction to Costume
    Introduction to Costume ~Checklists and Outlines~ Instructor: Lauren Lowell www.lowelldesigns.com How do we categorize “Dress” (Define the following:) TYPE OF DRESS TEXTILES SILHOUETTE SHAPE BASIC GARMENTS MOTIVATION FOR DRESS KEY IDENTIFIERS Ancient Egypt 4000-30BC TYPE OF DRESS TEXTILES SILHOUETTE SHAPE BASIC GARMENTS MOTIVATION FOR DRESS KEY IDENTIFIERS VOCABULARY: MORDANT ATEF CROWN GIRDLE RED WICKER CROWN KOHL PSCHENT CROWN MALACHITE NEMES HEADDRESS HORUS NEFERTITI FILLET HATSHEPSUT PHARAOH WIDE NECKLACE URAEUS VULTURE PECTORALS LOCK OF HORUS POSTICHE Ancient Egypt Ancient Greece 800BC-146BC TYPE OF DRESS TEXTILES SILHOUETTE SHAPE BASIC GARMENTS MOTIVATION FOR DRESS KEY IDENTIFIERS VOCABULARY: AEGEANS MINOAN MYCENAEAN CHITON FRESCOS GIRDLED FIBULA/FIBULAE OVERFOLD HIMATION CHLAMYS Ancient Greek Ancient Rome 500BC-476AD TYPE OF DRESS TEXTILES SILHOUETTE SHAPE BASIC GARMENTS MOTIVATION FOR DRESS KEY IDENTIFIERS VOCABULARY: TUNICA CLAVUS/CLAVI TOGA PALLA STOLA Ancient Rome Dark Ages & Early Middle Ages (AKA Byzantine/Dark Ages/Romanesque) Fall of Roman Empire-12th Centuries TYPE OF DRESS TEXTILES SILHOUETTE SHAPE BASIC GARMENTS MOTIVATION FOR DRESS KEY IDENTIFIERS VOCABULARY: TUNIC BIFURCATED GARMENT CHEMISE BRAIES HOSE GARTERS LEG BANDAGES CHAPERONE Early Medieval (10-12th Centuries) Gothic Period 13-15th Centuries TYPE OF DRESS TEXTILES SILHOUETTE SHAPE BASIC GARMENTS MOTIVATION FOR DRESS KEY IDENTIFIERS VOCABULARY BOURGEOISIE SUMPTUARY LAWS DAGGING PARTICOLOR HERALDRY BUTTONS PIKED SHOES DOUBLET/POURPOINT HOUPPELANDE CODPIECE “WINDOWS
    [Show full text]
  • №27 /2019 VOL. 1 Scientific Journal “Fundamentalis Scientiam” (Madrid, Spain)
    №27 /2019 VOL. 1 Scientific journal “Fundamentalis scientiam” (Madrid, Spain) ISSN - 1817-5368 The journal is registered and published in Spain It is published 12 times a year. Articles are accepted in Spanish, Polish, English, Russian, Ukrainian, German, French languages for publication. Scientific journal “Fundamentalis scientiam” (lat. “Basic Science”) was established in Spain in the autumn of 2016. Its goal is attracting the masses to the interest of “knowledge.” We have immediately decided to grow to the international level, namely to bond the scientists of the Eurasian continent under the aegis of the common work, by filling the journal with research materials, articles, and results of work. Editorial board: Chief editor: Petr Novotný – Palacky University, Olomouc Managing editor: Lukáš Procházka – Jan Evangelista Purkyně University in Ústí nad Labem, Ústí nad Labem Petrenko Vladislav, PhD in geography, lecturer in social and economic geography. (Kiev, Ukraine) Andrea Biyanchi – University of Pavia, Pavia Bence Kovács – University of Szeged, Szeged Franz Gruber – University of Karl and Franz, Graz Jean Thomas – University of Limoges, Limoges Igor Frennen – Politechnika Krakowska im. Tadeusza Kościuszki Plaza Santa Maria Soledad Torres Acosta, Madrid, 28004 E-mai: [email protected] Web: www.fundamentalis-scientiam.com CONTENT AGRICULTURAL SCIENCES Shariga A.V., Ushakov D.A., Storozhuk T.A. Shariga A.V., Ushakov D.A., Tumanova M.I. SAPROPEL IS A VALUABLE FEED ADDITIVE .................. 4 COMPARISON OF KEEPING AND BREEDING OF NUTRIA ON HOME AND INDUSTRIAL FARMS .............. 7 ARCHITECTURAL SCIENCES Sidrenko V.F., Petrenko V.V. URBAN DEVELOPMENT ANALYSIS OF LANDSCAPE AND MEMORIAL COMPLEX WITH ELEMENTS OF ENVIRONMENTAL AND CLIMATIC FACTORS (ON THE EXAMPLE OF THE TERRITORY OF "MAMAYEV KURGAN") IN VOLGOGRADE ....................................
    [Show full text]
  • Cult and Votive Monuments in the Roman Provinces
    CULT AND VOTIVE MONUMENTS IN THE ROMAN PROVINCES PROCEEDINGS OF THE 13TH INTERNATIONAL COLLOQUIUM ON ROMAN PROVINCIAL ART CORPUS SIGNORUM IMPERII ROMANI CULT AND VOTIVE MONUMENTS IN THE ROMAN PROVINCES Proceedings of the 13th International Colloquium on Roman Provincial Art Bucharest – Alba Iulia – Constanța, 27th of May – 3rd of June 2013 – within the framework of Corpus Signorum Imperii Romani – Editor Cristina-Georgeta Alexandrescu Mega Publishing House Cluj‑Napoca 2015 ImλgInes Studies in ancient arts and iconography 3 Series editor Cristina-Georgeta Alexandrescu Printed with the financial support of the Romanian Academy. Editor: Cristina‑Georgeta Alexandrescu. Editorial board: Cristina‑Georgeta Alexandrescu, Liana Oța, Mihaela Mănucu‑Adameșteanu. Front cover: Fortuna relief found reused in the baths of the Roman auxiliary camp of Ilișua, Bistrița‑Năsăud County (Complexul Muzeal Bistrița‑Năsăud, Bistrița, inv. no. 23022; photo C.‑G.Alexandrescu, ArheoMedia). Back cover: Detail of the Fortuna and Pontos statue from Tomis (Muzeul de Istorie Națională și Arheologie Constanța inv. no. 2001; photo O. Țiței). First published 2015. © Institutul de Arheologie “Vasile Pârvan” & the authors. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without the permission in writing from the author and editor. This book is not for sale. The distribution of printed volumes is to be made through publication exchange and gift. Descrierea CIP a Bibliotecii Naţionale a României INTERNAŢIONAL COLLOQUIUM ON ROMAN PROVINCIAL ART (13 ; 2013 ; Bucureşti ; Alba Iulia ; Constanţa) Cult and votive monuments in the Roman province : Proceedings of the 13th Internaţional Colloquium on Roman provincial art : Bucharest - Alba Iulia - Constanţa, 27th of May - 3rd June 2013 : within the frame of Corpus Signorum Imperii Romani / ed.: Cristina‑Georgeta Alexandrescu.
    [Show full text]