Cambridge University Press 978-0-521-80592-6 - Roman Imperialism and Provincial Art Edited by Sarah Scott and Jane Webster Index More information Index 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., 68 251 © 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 © 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 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,