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Abrahams, R., 41 architecture, domestic, and elite status, 176 acculturation, 26–7 art (see also Celtic art; classical; Gallo-British; Adamklissi, see Tropaeum Traiani Graeco-Roman; Greek; intercultural; late adaptation: of Greek art, 176, 179; of ‘pagan’ Roman; Libyan; naıve;¨ pre-Roman; art, 188 provincial; rock; Roman; Romano-British): aediculae, at Antioch, 177–8 and imperialism, 154; and power relations, Africa, see Libyan art; West Africa 154 age, manipulated in art, 61 art history, marginalised, 221 age difference: in divine couples, 110–11;in Artemis: and Hierapolitan identity, 197–8; triple deities, 111 Ephesian, 194–5; in Hierapolis reliefs, 195, Agricola, 127 196 alimentaryschemes, 60, 61, 62 artists (see also sculptors): practicing, an aid to Amazons, 84 archaeology, 225; female, Gallo-Roman, Ammon (god), 169 115; female, modern, 115 bis ancestor cult: at Ghirza, 166–8, 170; Libyan, Asia Minor: and Greek identity, 198; and 166 Panhellenion, 194 androgyny, 96, 98–100 assimilation, of Roman culture, 182 Annapolis (Md.), 41 Athena, in Nysa reliefs, 213 anonymity, and the Other, 89–90 Augustine, on women, 79 Antioch: and Roman culture, 182–4, 187–8; Augustus, cultural program, 25 and Roman ritual, 185–6; in Roman empire, Aurelius, see Marcus Aurelius 171–2; its identity, 189–90; mosaic layouts, auxiliaries, representation of, 91 173–6; Roman buildings, 173; Roman Avitus, 135–6, 227 sources, 173; Seleucid, 172, 180; site, 171; townscape depicted, 186–8 bakisi, 31 Antiochus IV, 172, 182–3 BaKongo, beliefs of, 31 Antonine Wall, 131 barbarians (see also Dacians): representation Antoninus Pius, 88, 131 of, 54–5, 58, 59, 68, 81–4; waited for, but Aphrodisias, relief, 85–6 sometimes don’t come, 132 Apollo (see also Apollo Grannus): Barton Farm, 134–5 androgynous, 99–100; Constantine’s vision, Bath, 125, 126 139–40; in Hierapolis reliefs, 195, 196 Baule, sculptures of, 33–4 Apollo Grannus: and Constantine, 140; cult, Beaune, sculpture from, 83 140–1; images, 146; sanctuary, 140 beauty, and Roman art, 216, 219 appropriation, 34; of culture, 153, 158, 169 Beneventum, Trajan’s Arch at, 60–1, 67 Ara Pacis Augustae, 61–2 Berndt, C. H. and R. M., 68 archaeology, and gender, 71, 73 Boudica, 124 archaism: and resistance, 199, 201–2;in Boudican revolt, 123–4 Second Sophistic, 192–3 Brandon, G., 36 arches: of Marcus Aurelius, 81–2; of Plancia breast, bared, as symbol, 84 Magna, 200–1; of Trajan, 60–1, 67 Brilliant, R., 68

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© in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-80592-6 - Roman Imperialism and Provincial Art Edited by Sarah Scott and Jane Webster Index More information

252 Index

Britain, Roman (see also Gallo-British art; cosmograms, in colonowares, 30–1 Romano-British art): ancient sources, councils, administer religion, 143, 144–5 119–20; as province, 128–9, 131;inC1 a.d., couples, divine, 106–11; and cultural identity, 123–8;inC2, 128–31;inC3, 131–3;inC4, 112–13, 114 133–7;inC5 and later, 137–8; needs new creole deities, in Roman Gaul, 48, 50 history, 120–1; pre-conquest, 120–1; Roman creole languages, 41 conquest, 121–3 creole religions, 36, 37, 39 Britannia, personified, 85, 87, 89 creolisation: and Celtic religion, 46, 50; and Brown, P., 217–18 Roman world, 42; defined, 6, 40 Burckhardt, J., 220, 224 cross-dressing, in ritual, 100 Burgundy, Celtic sculptures, 45 cult images: Apollo Grannus, 146; Sirona/Thirona, 146–7; viewing, 147–9, caduceus, 107 150–2 Caerwent, sculpture, 37–8 cults, regional, in western empire, 141–2, 145 Calendar, House of (Antioch), 174, 177, 184, culture, and epigraphy, 222 185 Currie, S., 58, 61 bis, 67 calendar mosaic, at Antioch, 185 Calgacus, 127 Dacia, personified, 86 captives, barbarian, 81–4 Dacians: on Trajan’s Arch, 63–4, 65, 66 bis;on Carausius, 132–3 Trajan’s Column, 55–8, 59, 60 Carolina, colonowares, 30–1 Daphne (nymph), 180, 182 ‘Celtic’, definitional problems, 21 Daphne (suburb of Antioch), 180 Celtic art: and Romanisation, 12–13; and dates, of artworks, and artistic judgements, Romano-British, 19–20;naıve¨ features, 15–16 19–20 De Mathuisieulx, H. M., 157 ‘Celtic heads’, 19–20 Deal, sculpture from, 37 centre–periphery, and identity,190–1 Decebalus, 64, 65, 66 Cerealis, Petillius, 128 deities: female v. male, 96–7; in Britain, 28, 34; Cernunnos, 40, 49 in Gaul, 34, 46–7; in western provinces, 40; Chedworth Villa, 32 Mediterranean, 105–6; on arch of Plancia chieftains, at Ghirza, 163 Magna, 200; Romano-Celtic, 48, 49, 50; children: on Trajan’s Arch, 61; on Trajan’s zoomorphic, 40, 47–8 Column, 57 Demeter, in Nysa reliefs, 210, 211 chi-rho monogram, sign of resistance? 32 design, of works, patron’s role, 19 Christianisation, of Britain, 32 dining areas, in Antioch houses, 174–5 Cilicia, House of (Antioch), 180 Diodorus, on Celtic religion, 43 cities, Greek, kinship claimed with, 193 Dionysiac revels, in Nysa reliefs, 206, 209 civic identity, and use of myth,212, 213 Dionysus: and Ariadne, House of (Antioch), civitates, 128 178; androgynous, 99; at Antioch and classical art: and Romano-British, 18;C19 Pompeii, 179–80; in Nysa reliefs, 203, 206, views, 2 208, 209 Classicianus, C. Julius, 124 divine couples, 106–11 classics, and feminism, 72 Dobunni, 122 Claudius (emperor), 85, 122, 123 domestic architecture, and elite status, 176 Cleopatra, Roman representations, 80 drapery, in Romano-British sculpture, 20 client kings, in Britain, 125, 127, 128 dream houses, at Ghirza, 168 codes, in Christian inscriptions, 227 dress (see also cross-dressing), depiction at Cogidubnus, see Togidubnus Ghirza, 164–5 Collingwood, R. G., 3, 10, 12, 224 colonowares (N. America), 30–1 East, as Other, 77 Column of Marcus Aurelius, 58 elites: and ancestor cult, 168, 170; and competence, of artists, 22; and intentions, domestic architecture, 176; depicted at 16–17 Ghirza, 159–64; provincial, and religion, conquest, of Britain, 121–3 143–4, 145; self-definition through myth, Constantine, sees Apollo, 139–40 184–5

Index 253

emblemata, in Antioch mosaics, 177, 178 gender stereotypes, 115–16 embodied oppositions, 35 gender uncertainty, in art, 101–2 emulation (see also mimicry), 24, 153, 166; and genres: in Romano-British art, 18–19; new, in Roman art in Libya, 158; as appropriation, Britain, 17, 19 34; insufficientlyexplanatory, 38–9 Ghirza: sculptures, 159–66; site, 154–6; tombs, enamelling, 18–19 modern views, 156–8 Ephesus: and Hierapolitan identity, 197–8; gladiatorial shows, at Antioch, 183 claims of antiquity, 194; imperial cult, 199 gods, see deities epigraphy: and culture, 222; and Graeco-Roman art, and Romano-British, 18 Romano-Celtic deities, 49 Grand: end of cult, 145–6; sanctuaryof Apollo Epona: as creole deity, 48, 50; distribution, at, 140 104; origins, 102–3; representation, 47–8, Grand Camee´ de France, 82–3 103–4 Grannus, see Apollo Grannus Euripides, 98–9 Graupius, Mt., 127 eurocentrism, 27 grave-goods, and gender, 116 ex-votos,atfana, 150 Great Trajanic Frieze, 58–9, 66 Greek art (see also Graeco-Roman): adapted, families (see also ancestor cult; imperial 176, 179; and Roman, 216–17 family), elite, at Ghirza, 159 Greek culture: and resistance, 199, 201–2; fana, in NW empire, 149–50 Hellenistic, 172; in Second Sophistic, 192–3 farming, depicted at Ghirza, 163–4 Greek identity: at Nysa, 212–13; excludes femininity, 72 Roman, 213; in Asia Minor, 197–8, 213 feminism, and classics, 72 Green, M. A., 12, 13 Ferguson, L., 26 Gundestrup Cauldron, 101 Fishbourne, 126 Gurzil, 169, 170 Foss Dyke (Lincs), 34 ‘founder’ (title), 200, 201 Hadrian: and Britain, 128–9; and Nicaea, 201; friezes, see Great Trajanic Frieze and provinces, 88–9 Hadrian’s Wall, 129 Gallitas (see also under identity), and gender, Haverfield, F., 3, 12, 25, 27, 224 112–13, 114 heads, Celtic, 19–20 Gallo-British art, partlyindependent of Hellenistic culture (see also Greek art; Greek Mediterranean, 104–6 culture; Greek identity; Seleucids), and Gallo-Roman artists, female, 115 Roman, 172 gateway, of Plancia Magna, 200–1 Henig, M., 5, 11, 35 Gaul (see also Gallitas and next 2 entries): Herodotus, 166 religious iconography, 46–7; sculptures, Hierapolis: Greek identity, 197–8; theatre 43–5 reliefs, 195–7 gaze, male, 75 Hispania, personified, 88 gems, studyof, 223–4 historyof art, marginalised, 221 gender: and archaeology, 71, 73; and horsemen, depicted at Ghirza, 164 grave-goods, 116; and identity, 112–13, 114, horsewomen (see also Epona): in pre-Roman 117–18; and jewellery, 73; and Otherness, art, 102–3; in Roman art, 104 77–8, 79, 80–1; and Roman society, 73–5; House of Cilicia (Antioch), 180 and sex, 71, 95–6; and size of figures, House of Dionysus and Ariadne (Antioch), 178 108–10; and virtus, 79; in literature, 79–81; House of Menander (Antioch), 180, 181–2 in philosophy, 78–9; third, 96, 112; varying House of Porticoes (Antioch), 182 notions, 71–2 House of the Calendar (Antioch), 174, 177, gender ambiguity, 96, 97; and divine couples, 184, 185 108; and religion, 100 houses (see also mosaics): Antioch, 173–6; gender ambivalence, 96, 97; and triple deities, Pompeii, 176, 177, 178 111–12;inart100–1 hunting scenes: at Antioch, 186; at Ghirza, 164 gender differentiation: and resistance, 114;in huntress, Artemis as, 196 divine couples, 113–14 Hutcheson Hill, 82, 90 gender mutability, 98 Hygeia, 146–7

254 Index

iconography: in Celtic religion, 44–6;inNysa male gaze, 75 theatre reliefs, 203–8, 210–12; manipulated, maleness, unwiselypresumed, 101–2 212; of Antioch mosaics, 179–82; responses Marcus Aurelius: Arch of, 81–2; Column of, 58 to, 225–6 Mars, at Foss Dyke, 34–5 identity: and centre–periphery, 190–1; and Marsyas, 196 divine couples, 112–13, 114; and gender, Martial, 72 112–13, 114, 117–18; at Antioch, 189–90;at Martinus (governor of Britain), 134 Hierapolis, 197–8;atNysa,212–13; civic, masculinity, 72 and use of myth, 212, 213; Gallic, 112–13, Matanzas (Cuba), 39 114; Greek, excludes Rome, 213; in Asia material, see raw material Minor, 197–8, 213; in Britain, 21; local v. material culture, as ‘text’, 41 Roman, 190–1; personal religious, 142; Matronae, 111 Roman, 112–13, 114, 117–18, 190–1 Mauretania, personified, 88 ideology, and representation, 70–1 mbari houses, 34 Igbo, sculptures of, 34 Megalopsychia mosaic, 186–8 images, see cult images Mela, 166 imperial cult, in Asia Minor, 199 Memmi, A., 77 imperial family: on gate of Plancia Magna, men, in Roman society, 74 200, 201; women, 61, 62 Mercury: and Rosmerta, 107–8, 109–10; imperialism: and art, 154; and perception of representation of, 40 Roman Britain, 120; Roman, an empire of metalwork, native and British tradition, 18–19 the mind, 227 Millett, M., 5, 13, 25–6, 27 inscriptions, see epigraphy mimicry( see also emulation), as resistance, intentions, of artists, 14, 16; and competence, 33–4 16–17 minkisi, 31 intercultural art, 24 Mommsen, T., 3 interpretatio Romana, 46, 49, 50 monarchy, in Roman ideology,79–80 Irminenwingert, 143 Mons Graupius, 127 months, depicted allegorically, 185 jewellery: and gender, 73; Romano-British, 19 mosaics: and Roman culture, 184–5;at Judaea, personified, 86 Antioch, 173–6, 179–82, 186–8;inC4 Julia (wife of Agrippa), 75 Britain, 134–6; viewing, 174 Julian (emperor), 134, 218 multi-ethnic society, and Romano-British art, Julius Classicianus, C., 124 21–2 Juno, 106–7 mythology: and civic identity, 212, 213; and Jupiter, 106–7 elite self-definition, 184–5; in Antioch mosaics, 179–82; in Nysa theatre reliefs, Kampen, N., 4, N., 57, 62 203–8, 210–12; manipulated, 212 kings, see client kings kinship, with Greek cities, claimed, 193 naıve¨ art, and Celtic, 19–20 name-pairing, of deities, 49 Ladon (river), 181–2 names, encoded, 136, 227 late Roman art, character, 218–19 naming, as mastery, 85 left-handedness, 102 Nantosuelta, 108–9 Leicester, 130 Narcissus, 186 Libanius, 186, 188, 190 negotiation, between cultures (see also Libyan art (see also Ghirza), and Roman, identity), 24, 191 158–9, 165–6 Nehalennia, 150 Londinium, personified, 87 neokoros, 199 Lullingstone, 135 Netherby(Cumbria), 34 luxuryarts, 222 New Seville, 35–6 Nicaea (Bithynia), Lefke gate, 201 MacGaffey, W., 31 Niobids, 196 Magnentius, 134 nkisi, 31 Magnus Maximus, 134 numerical codes, in Christian inscriptions, 227 Mainz, sculpture from, 83 nymphaea, at Antioch, 173, 175, 177, 186–7

Index 255

Nysa, 202; and Greek identity, 212–13; public religion, 144 personified, 209; theatre reliefs, Pyramus (hero and river), 182 202–12 queens, in Roman ideology, 80 ‘occupation’, of Britain, questioned, 130–1 oppositions, embodied, 35 rape of Persephone, 203, 208; as consensual, orientalism, 77 210 orishas, 39 raw materials, and artistic judgements, 15 bis Orpheus, in Britain, 135 Redpath, P., 225 Other, the: and self-definition, 90; and Regina, tombstone of, 21–2 anonymity, 89–90; and female imagery, regional cults, in western empire, 141–2, 81–9; and gender, 77–8, 79, 80–1;in 145 colonial contexts, 76–7; representation in reliefs: at Hierapolis theatre, 195–7; on Ghirza provinces, 90–1 tombs, 159–65 religion: and creolisation, 50; and gender paganism, in C4 Britain, 134 ambiguity, 100; Celtic, 43–6, 50; civic pairing, of deities, 49 organisation, 143–5; in Roman Britain, Panhellenion, 193–4 28–9, 34–5; ‘private’, 143–4; public, 144 Papposilenus, 209 religious identity, personal, 142 parentalia, at Ghirza, 168 representation, and ideology, 70–1 patrons: and artists, 16; and design of works, resistance, 12, 31–2; and gender 19 differentiation, 114; Christian, 32; Greek, Paullinus, Suetonius, 124 through archaism, 199, 201–2; and mimicry, Perge, monuments, 200–1 33–4; women’s, 75; W. African, 33–4 peristyles, at Antioch, 176–7 right-handedness, 102 Persephone, at Nysa, 203, 206–8, 209, 212–13 ritual, unites Roman empire, 185–6 personal identity, religious, 142 rock art, Saharan, 170 personifications: in Nysa reliefs, 208–9;of Roman art (see also Gallo-Roman artists; provinces, 85–7, 88–9 Graeco-Roman art; late Roman art; Petillius Cerealis, 128 pre-Roman art; provincial art): and Greek, philosophies, ancient, on gender, 78–9 216–17; and society, 6;C19 views, 2; Pius, see Antoninus Pius impressive range, 217; legacy, 219–20; place of manufacture, and artistic judgements, modern appreciation, 216; recent views, 15–16 4–5, 222; studyneglected, 221 place-names, 85 Roman Britain, see Britain, Roman Plancia Magna, 75, 200 Roman conquest, of Britain, 121–3 Plinythe Elder, 216 Roman culture (see also ‘Romanisation’; pluralism, religious: 144, 145, 150–2;inNW Romanness): and Antioch, 187–8; and empire, 142 Hellenistic, 172; attraction today, 215–16 Pluto: identification, 211; in Nysa reliefs, 203, Roman empire: unifying rituals of, 185–6; 208, 210 united but not uniform, 191 Pompeii: Dionysus at, 179–80; houses, 176, Romanitas, see Romanness 177, 178 ‘Romanisation’, 1, 6, 25–6, 170; and Celtic Pomponius Mela, 166 art, 12–13; and creolisation, 42; and portraits, in Ghirza sculptures, 165–6 mosaics, 184–5; of Antioch, 182–4;of post-colonial approaches, to provincial art, Britain, pre-conquest, 120–1; of deities in 5–6 Roman Britain, 28, 29 power relations: and art, 154; in Ghirza Romanness (see also Roman culture): and sculptures, 159–63 empire, 190–1; and gender, 112–13, 114, pre-Roman art, 18–19, 43–5, 102–3 117–18; excluded byGreekness, 213 ‘private’ religion, 143–4 Romano-British art: and ‘Celtic’, 19–20; and provinces: personified as women, 85–7, 88–9; multi-ethnic society, 21–2; earlier views, under Hadrian, 88–9 9–11; recent views, 11–12, 13, 14; standards provincial art: earlier views, 3–4, 5; bywhich judged, 18; studyof, 224–5; post-colonial approaches, 5–6; the Other in, techniques and genres, 18–19 90–1 Romano-Celtic deities, 48, 49, 50

256 Index

rooms, layouts at Antioch, 173–4 techniques, native and Roman, 18–19 Rosmerta, 107–8, 109–10 temple of Hadrian, 88 theatre reliefs: at Hierapolis, 195–7; at Nysa, sacrifices: at Ghirza, 168; realityof, 218 202–12 Said, E., 77 Theogamia, 202, 209, 210 Saint-Remy(Provence),´ 82 Thirona (see also Sirona), 147 Salutaris decree, 199 Thisbe (heroine), 182 Santeria, 36, 37, 39 Thomas, C., 227 sarcophagi, depicting barbarians, 84 Togidubnus, 122–3, 124, 125 bis, 126, Saturn, in Roman Africa, 165, 169 127 Scott, E., 73 Toynbee, J., 3–4, 11, 19, 88, 221, 224 Scott, J. W., 73 Trajan’s Arch (Beneventum), 60–1, 67 sculptors, using intelligence, 225 Trajan’s Column, 55–8, 59, 60, 66 sculptures (see also ‘Celtic heads’; reliefs; Trajan’s Forum, 55, 58 statues): Baule, 33–4; Burgundy, 45; Trajanic Frieze, Great, 58–9, 66 Caerwent, 37–8; Celtic, pre-Roman and transference, of symbols, 106–8 Roman, 43–5; Deal, 37; depicting transgression, of boundaries, 100 barbarians, 81–4; Ghirza, 159–66; Igbo, 34; transposition, of artistic elements, mutablygendered, 98; Romano-British, 20; 176 wooden, 45 triclinia, at Antioch, 177 Second Sophistic, 192–3 triple deities, 111–12 Seine, Source of, 45 Tropaeum Traiani (Adamklissi), 62–3, 67 Seleucids, and Antioch, 172, 180 self-definition: and the Other, 90; elite, Vedignat,´ sculpture from, 44 through mythology, 184–5 Verica, 122 Septimius Severus, 131, 132 Verulamium, 122, 128, 130 sex, and gender, 71, 95–6 Vespasian, 122 sexual dimorphism, denied, 108–10 viewing: cult images, 147–9, 150–2; mosaics, shrines, local, 149–50 174 Sidonius Apollinaris, 190 virtus, and gender, 79 Silenus, 209 visibility, in Roman houses, 175–6 simulacra, 44 (table), 45 vision, of artist, see intentions Sirona, 146–7 vision houses, at Ghirza, 168 size, of figures, and gender, 108–10 votives, at fana, 150 skill, see competence Smith, D., 224 Wall, Hadrian’s, 129 Smythe, on Ghirza, 156 wall-painting, 222 South Carolina, colonowares, 30–1 war, depiction of, 58 bis, 62, 63–5, 66, 67 statues: of Apollo Grannus, 146; of Dacians, West Africa, art as resistance in, 33–4 60; of Sirona/Thirona, 146–7 wheels, as symbols, 106 Strong, D., 221 women (see also gender): and symbolic subversiveness, 35 systems, 75–6; artists, 115; captives, 82–4; Sucellus: and Nantosuelta, 108–9; Dacian, 56–7, 64; imperial, 61, 62;in representation, 48, 49 private life, 75; in public life, 75; in Roman Suetonius Paullinus, 124 archaeology, 73; liminal, 115–16; symbolic systems, and women, 75–6 personifying provinces, 85–7, 88–9 symbols, 84, 106; transferred between deities, Woodchester, 134–5 106–8 wooden sculpture, 45 symmetry, in houses, 175, 177 syncretism: ‘bottom-up’, 36–7; in Roman Yakto complex (Antioch), 186–8 Britain, 28–9, 40 Yentsch, A., 41

Tacitus: on Agricola, 126–7; on Classicianus, zoomorphic deities, 40, 47–8 124; on Petillius Cerealis; on women, 81 zoomorphic ﬁgures, 44