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Antioch Mosaics and Their Mythological and Artistic Relations with Spanish Mosaics
JMR 5, 2012 43-57 Antioch Mosaics and their Mythological and Artistic Relations with Spanish Mosaics José Maria BLÁZQUEZ* – Javier CABRERO** The twenty-two myths represented in Antioch mosaics repeat themselves in those in Hispania. Six of the most fa- mous are selected: Judgment of Paris, Dionysus and Ariadne, Pegasus and the Nymphs, Aphrodite and Adonis, Meleager and Atalanta and Iphigenia in Aulis. Key words: Antioch myths, Hispania, Judgment of Paris, Dionysus and Ariadne, Pegasus and the Nymphs, Aphrodite and Adonis, Meleager and Atalanta, Iphigenia in Aulis During the Roman Empire, Hispania maintained good cultural and economic relationships with Syria, a Roman province that enjoyed high prosperity. Some data should be enough. An inscription from Málaga, lost today and therefore from an uncertain date, seems to mention two businessmen, collegia, from Syria, both from Asia, who might form an single college, probably dedicated to sea commerce. Through Cornelius Silvanus, a curator, they dedicated a gravestone to patron Tiberius Iulianus (D’Ors 1953: 395). They possibly exported salted fish to Syria, because Málaca had very big salting factories (Strabo III.4.2), which have been discovered. In Córdoba, possibly during the time of Emperor Elagabalus, there was a Syrian colony that offered a gravestone to several Syrian gods: Allath, Elagabab, Phren, Cypris, Athena, Nazaria, Yaris, Tyche of Antioch, Zeus, Kasios, Aphrodite Sozausa, Adonis, Iupiter Dolichenus. They were possible traders who did business in the capital of Bética (García y Bellido 1967: 96-105). Libanius the rhetorical (Declamatio, 32.28) praises the rubbles from Cádiz, which he often bought, as being good and cheap. -
Section of a Floor Mosaic Depicting Fall
VMFA Resources CLASSROOM ACTIVITY VIRGINIA MUSEUM OF FINE ARTS Section of a Floor Mosaic Depicting Fall Section of a Floor Mosaic Depicting Fall, 3rd–4th century AD Roman Stone and glass tesserae, 70 x 40 in. Adolph D. and Wilkins C. Williams Fund, 51.13 VMFA Resources CLASSROOM ACTIVITY VIRGINIA MUSEUM OF FINE ARTS Object Information Romans often decorated their public buildings, villas, and houses with mosaics—pictures or patterns made from small pieces of stone and glass called tesserae (tes’-er-ray). To make these mosaics, artists first created a foundation (slightly below ground level) with rocks and mortar and then poured wet cement over this mixture. Next they placed the tesserae on the cement to create a design or a picture, using different colors, materials, and sizes to achieve the effects of a painting and a more naturalistic image. Here, for instance, glass tesserae were used to add highlights and emphasize the piled-up bounty of the harvest in the basket. This mosaic panel is part of a larger continuous composition illustrating the four seasons. The seasons are personified aserotes (er-o’-tees), small boys with wings who were the mischievous companions of Eros. (Eros and his mother, Aphrodite, the Greek god and goddess of love, were known in Rome as Cupid and Venus.) Erotes were often shown in a variety of costumes; the one in this panel represents the fall season and wears a tunic with a mantle around his waist. He carries a basket of fruit on his shoulders and a pruning knife in his left hand to harvest fall fruits such as apples and grapes. -
Unique Representation of a Mosaics Craftsman in a Roman Pavement from the Ancient Province Syria
JMR 5, 2012 103-113 Unique Representation of a Mosaics Craftsman in a Roman Pavement from the Ancient Province Syria Luz NEIRA* The subject of this paper is the study of the figured representation of a mosaics-craftsman in a fragmentary pavement, preserved in the National Museum of Denmark in Copenhagen. Of unknown provenance, apparently comes from the territory of ancient Syria in the Eastern Roman Empire. Such representation is a hapax, not only in the Roman mosaics of Syria, but also in the corpus of Roman Empire, since, although several mosaic inscriptions in some pavements, which show the name of the mosaic artisans and / or different names for different functions of the trades related to the development of mosaics, and even the reference to the workshop, who were teachers or members of his team of craftsmen, the figured representation of a mosaicist, in the instant to be doing his work, is truly unique. Keywords: mosaic, mosaics-craftsman, Syria, Eastern Roman Empire, Late Antiquity. When in 1998 I had the opportunity to visit the National Museum of Denmark in Copenhagen, I could see between the collections of exposed mosaics a fragment with the figure of a man represented at the instant of having, hammer in hand, the tesserae of a mosaic. Years later, when tackling a study on the jobs of artists and artisans in the roman mosaics1, checked its absence in the bibliography, nevertheless extensive and prolix on the subject, and put me in contact with the director of the Classical Antiquities Department in the Danish Museum, Dr. John Lund, who, to my questions2 about the origin of the fragment, kindly answered me. -
© Copyright 2014 Morgan E. Palmer
© Copyright 2014 Morgan E. Palmer Inscribing Augustan Personae: Epigraphic Conventions and Memory Across Genres Morgan E. Palmer A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2014 Reading Committee: Alain M. Gowing, Chair Catherine M. Connors Stephen E. Hinds Program Authorized to Offer Degree: Classics University of Washington Abstract Inscribing Augustan Personae: Epigraphic Conventions and Memory Across Genres Morgan E. Palmer Chair of the Supervisory Committee: Professor Alain M. Gowing Department of Classics This dissertation investigates the ways in which authors writing during the reign of the emperor Augustus, a period of increased epigraphic activity, appropriate epigraphic conventions in their work. Livy, Ovid, and Virgil furnish case studies to explore the ways in which Augustan authors create epigraphic intertexts that call upon readers to remember and synthesize literary and epigraphic sources. Investigation of Livy is foundational to my discussion of Ovid and Virgil because his selective treatment of epigraphic sources illustrates how inscriptions can be both authoritative and subjective. Augustan poets exploit the authority and subjectivity of inscriptions in accordance with their own authorial purposes and the genres in which they write, appropriating epigraphic conventions in ways that are both traditional and innovative. This blending of tradition and innovation parallels how the emperor himself used inscriptions to shape and control -
World History--Part 1. Teacher's Guide [And Student Guide]
DOCUMENT RESUME ED 462 784 EC 308 847 AUTHOR Schaap, Eileen, Ed.; Fresen, Sue, Ed. TITLE World History--Part 1. Teacher's Guide [and Student Guide]. Parallel Alternative Strategies for Students (PASS). INSTITUTION Leon County Schools, Tallahassee, FL. Exceptibnal Student Education. SPONS AGENCY Florida State Dept. of Education, Tallahassee. Bureau of Instructional Support and Community Services. PUB DATE 2000-00-00 NOTE 841p.; Course No. 2109310. Part of the Curriculum Improvement Project funded under the Individuals with Disabilities Education Act (IDEA), Part B. AVAILABLE FROM Florida State Dept. of Education, Div. of Public Schools and Community Education, Bureau of Instructional Support and Community Services, Turlington Bldg., Room 628, 325 West Gaines St., Tallahassee, FL 32399-0400. Tel: 850-488-1879; Fax: 850-487-2679; e-mail: cicbisca.mail.doe.state.fl.us; Web site: http://www.leon.k12.fl.us/public/pass. PUB TYPE Guides - Classroom - Learner (051) Guides Classroom Teacher (052) EDRS PRICE MF05/PC34 Plus Postage. DESCRIPTORS *Academic Accommodations (Disabilities); *Academic Standards; Curriculum; *Disabilities; Educational Strategies; Enrichment Activities; European History; Greek Civilization; Inclusive Schools; Instructional Materials; Latin American History; Non Western Civilization; Secondary Education; Social Studies; Teaching Guides; *Teaching Methods; Textbooks; Units of Study; World Affairs; *World History IDENTIFIERS *Florida ABSTRACT This teacher's guide and student guide unit contains supplemental readings, activities, -
Studying the Construction of Floor Mosaics in the Roman Villa of Pisões (Portugal) Using Noninvasive Methods: High-Resolution 3D GPR and Photogrammetry
remote sensing Article Studying the Construction of Floor Mosaics in the Roman Villa of Pisões (Portugal) Using Noninvasive Methods: High-Resolution 3D GPR and Photogrammetry Bento Caldeira 1,* , Rui Jorge Oliveira 2 , Teresa Teixidó 3 , José Fernando Borges 1 , Renato Henriques 4 , André Carneiro 5 and José Antonio Peña 3 1 Institute of Earth Sciences/Physics Department, University of Évora, Rua Romão Ramalho, 59, 7002-554 Évora, Portugal 2 Institute of Earth Sciences, University of Évora, Rua Romão Ramalho, 59, 7002-554 Évora, Portugal 3 Andalusian Institute of Geophysics, University of Granada, Campus Universitario de Cartuja, 18071 Granada, Spain 4 Institute of Earth Sciences, University of Minho, Campus de Gualtar, 4710-057 Braga, Portugal 5 Centre for Art History and Artistic Research/History and Archaeology Department, University of Évora, Largo dos Colegiais, 2, 7000-803 Évora, Portugal * Correspondence: [email protected] Received: 29 June 2019; Accepted: 9 August 2019; Published: 12 August 2019 Abstract: Over the past decade, high-resolution noninvasive sensors have been widely used in explorations of the first few meters underground at archaeological sites. However, remote sensing actions aimed at the study of structural elements that require a very high resolution are rare. In this study, layer characterization of the floor mosaic substrate of the Pisões Roman archaeological site was carried out. This work was performed with two noninvasive techniques: 3D ground penetrating radar (3D GPR) operating with a 1.6 GHz central frequency antenna, which is a very high-resolution geophysical method, and photogrammetry with imagery obtained by an unmanned aerial vehicle (UAV), which is a very high-resolution optical method. -
Obsidian and Obsidian-Like Glass Tesserae: a Multidisciplinary Approach to Study the Dedication Wall Mosaic in the Church of St
Open Archaeology 2020; 6: 403–416 Research Article Valentina Cantone*, Rita Deiana, Alberta Silvestri, Ivana Angelini Obsidian and Obsidian-like Glass Tesserae: A Multidisciplinary Approach to Study the Dedication Wall Mosaic in the Church of St. Mary of the Admiral in Palermo (12th Century) https://doi.org/10.1515/opar-2020-0116 received July 31, 2020; accepted October 7, 2020. Abstract: Pliny the Elder testifies that roman workshops used volcanic glass (obsidian), but also produced and used a dark glass (obsidian-like glass) quite similar to the natural one. In the context of the study on medieval mosaics, the use of the obsidian and obsidian-like tesserae is a challenging research topic. In this paper, we present the results of a multidisciplinary study carried out on the Dedication wall mosaic, realized by a byzantine workshop in the 12th century in the Church of St. Mary of the Admiral in Palermo, and where numerous black-appearing tesserae, supposed to be composed of obsidian by naked-eyes observation, are present. Historical documents, multispectral imaging of the wall mosaic, and some analytical methods (SEM-EDS and XRPD) applied to a sample of black tesserae, concur in identifying here the presence of obsidian and different obsidian-like glass tesserae. This evidence, although related to the apparent tampering and restoration, could open a new scenario in the use of obsidian and obsidian-like glass tesserae during the Byzantine period in Sicily and in the reconstruction of multiple restoration phases carried out between 12th and 20th century AD on the mosaics of St. Mary of the Admiral. -
Dionysos and His Retinue in the Art of Late Roman and Byzantine Palestine
188 Renate Rosenthal-Heginbottom УДК 7.033.2...1 ББК 85.14; 6 3. 3 (0) 4 DOI:10.18688/aa155-2-18 Renate Rosenthal-Heginbottom Dionysos and His Retinue in the Art of Late Roman and Byzantine Palestine In late antique Palestine the predominant mythological subject in the visual arts was Dio- nysian imagery, reflecting a Hellenistic cultural heritage no longer identified exclusively with paganism. Yet it is not easy to understand why the vestiges of the cult of Dionysos remained omnipotent in the Near East throughout the Byzantine and early Islamic periods. The popu- larity, universality, and longevity of the god’s cult are most likely due to the convivial aspect of wine-consuming among the Greeks: the idea of sharing and enjoying [8, p. 193], [22, p. 332]. Not only did the participants of the symposium share equally in the rejoicing, but Dionysos transformed in an immaterial sense the human banquet into a divine occasion that allowed each individual to identify with the divine spirit, creating a firm bond between the human and the divine, the mortal and the immortal. Archaeological remains comprise a diversity of materials and objects and provide an in- sight into religious and profane beliefs and practices; most wide-spread and numerous are mosaic floors of reception and dining halls in private mansions. In the Holy Land Dionysian imagery is found on mosaic floors and on objects of daily use. The finds themselves seldom answer fundamental questions with regard to their secular and/or spiritual meaning and their ethno-religious association. On the material level, pagans, Jews, and Christians generally used the same objects in daily life, in funerary customs and even in ritual contexts, and embellished their homes with the same kind of mosaic floors and frescoes. -
The Mosaic of Neptune and the Seasons from La Chebba Is of Interest Not Only Because of Its Fine Workmanship but Also for Its Unique Combination of Familiar Motifs
THE MOSAIC OF NEPTUNE AND THE SEASONS FRO:M LA CHEBBA THE, MOSAIC OF NEPTUNE AND THE SEASONS FR01VI LA CHEBBA by GIFTY AKO-ADOUNVO SUQmitted to the School of Graduate Studies in Partial Fulfilment of the Requirements for the Degree Master of Arts McMaster University © Copyright by Gifty Ako-Adounvo, April 1991. MASTER OF ARmS McMASTER UNIVERSIT}: (Classical Studies) Hamilton, Ontario TITLE: The Mosaic of Neptun1e and the Seasons from La Chebba. AUTHOR: Gifty Ako-Adounvo, B.A. (Hons.) (University of Ghana). SUPERVISOR: Rrofessor KM.D. Dunbabin NUMBER OF PA@ES: xiii,. 1 ~,2 11 ABSTRACT This thesis analyses the Roman mosaic of Neptune and the Seasons from La Chebba in Nortk Africa (Africa Proconsularis). The mosaic was exeavated in 1902 in a seaside', villa at La Chebba which is about 10 km. south of El Alia. The mosaic has rec~ived but brief mention in publications since the beginning of the century, in s}i>ite, of its fascinating subject matter. Chapter 1 gives a detailed description of the mosaic, which depicts in a central medallion, Neptune standing in a frontal chariot attended by two members of the marine thiasos. ]:;'our female Seasons appear iin the corner diagonals of the pa"fvement. They are flanked by seasonal animals and little scenes of seasonal activity. These seasonal vignettes and the combination of Neptune with Seasqns are unique features of this mosaic. Chapter 2 deals with the subject of the "triumph"; its modern art historical terminology, its symbolism, and the iconography of Neptune's "triumph". Some very interesting parallels appear. -
Who Are You, Beautiful Woman? the 'Mona Lisa' from Sepphoris in The
CLARA Vol. 3, 2018 N. Sevilla-Sadeh Who Are You, Beautiful Woman? The ‘Mona Lisa’ from Sepphoris in the Light of Epicureanism and Neo-Platonism Nava Sevilla-Sadeh Abstract. The identification of the image known as the ‘Mona Lisa’ portrayed in the floor mosaic from the Roman Dionysian villa at Sepphoris has been much debated in the study of Roman mosaics. This figure has been variously identified as Aphrodite, due to the image of Eros hovering next to her; as symbolising the virtue of modesty, in relation to the apparent wine-drinking contest in the main emblem; as the ‘woman of the family of the house’, reflecting a sense of proportion, modesty, chastity, and propriety; and as the embodiment of Happiness, audaimonia, ‘the mother of all virtues’. However, due to the tendency of ancient art to generalisation, and following a new reading of the overall mosaic, the argument presented here is that this figure features within a religious and philosophical context and not a moral one, and should therefore be perceived within a broader context of Roman thought. The contention here is that the issue at stake is not the identification of this figure as a specific woman, but of the spirit that she conveys. The two main world views that seem to be embodied by this image are Epicureanism and Neo-Platonism. This argument is examined here through a discussion of Epicurean and Neo-Platonic principles and an examination of the metaphorical significance of the image of Eros as a key figure. It is compared to images in the Orpheus mosaic from Jerusalem exhibited in the Archeological Museum at Istanbul, as images that echo symbolically the main emblem. -
The Origin and Development of Mosaics to the Time of Augustus
THE ORIGIN AND DEVELOPMENT OF MOSAICS TO THE TIME OF AUGUSTUS In Memory of my Teacher Michael Avi-Yonah In the search for the origin of mosaic art, the close relationship between mosaic and inlay work cannot be ignored since both techniques are based on the same principle, i.e. the fitting together, side by side, of small pieces of one or several kinds of materials, of one or more colours. This close relationship has already been noted by Hinks: “The connexion between the mosaics proper, composed of terra cotta cones differing in colour but uniform in shape, and the inlaid work in which pieces of various shapes are fitted together, is worth recording... The columns from Al-‘Ubaid, however, seem to stand halfway between the architectural craft of terra-cotta cone-mosaic and the ornamental art of shell and lapis inlay; and to show that in Sumerian times, at all events, the two processes were closely related.”1 The art of decorating a surface by means of an inlay of coloured stones or other material, was already known in ancient Mesopotamia. The palace at Warka (Uruk, Erech) in Chaldaea, of the 4th millennium B.C.E., contains a decoration of this type. It is carried out in geometric patterns (triangles, lozenges, zigzag lines and bands),2 composed of small 1 R.P. Hinks, Catalogue of the Greek, Etruscan and Roman Paintings and Mosaics in the British Museum, (London, 1933) p. XLIV. 2 V. W.K. Loftus, Travels and Researches in Chaldaea and Susiana (New York, 1857) pp. 187ff.; G. -
Durham E-Theses
Durham E-Theses Imagery and ideology : aspects of female representation in Roman art, with special reference to Britain and Gaul. Rodgers, Rene Heather How to cite: Rodgers, Rene Heather (1999) Imagery and ideology : aspects of female representation in Roman art, with special reference to Britain and Gaul., Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/1135/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 r_,., p K ýký--ý, IMAGERY AND IDEOLOGY: ASPECTS OF FEMALE REPRESENTATION IN ROMAN ART, WITH SPECIAL REFERENCE TO BRITAIN AND GAUL (TWO VOLUMES) RENE HEATHER RODGERS VOLUME I The copyright of this thesis rests with the author. No quotation from it should be published without the written consent of the author an information derived from it should be acknowledged. 17 JAN2000 A thesis submitted for the degree of Doctor of Philosophy at the University of Durham, in the Department of Archaeology, 1998 Declaration: No part of this work has been submitted as part of a degreeby myself at this or any other University.