ESPAÑA-CHAMORRO, S. & CHAPINAL HERAS, D. (2019), “ ‘¡Qué haya buena suerte, Hiaspane!’ Una urna cineraria con un nombre poco común”, Syllogue Epigraphica Barcinonensis 17, pp. 169-175 (original) (raw)
Related papers
2023
With over 4,000 surviving documents, Latin inscriptions in verse are not only an important element of the Roman practice of epigraphy, they are also the sole poetic genre with a continuous attestation for over 1,000 years, from across the Roman Empire. Frequently produced by and for members of the lower social classes, they raise numerous questions regarding their production and reception, especially in relation to their prose counterparts. Since most of them are of a funerary nature (more than 80%), they are closely related to death and its contexts, being a popular option to commemorate the death of a loved one with a last farewell full of values and sentiment.
The Sculpture Journal, 2017
This ‘Sources and Documents’ section presents the longest sculpted epitaph on a medieval tomb in western Europe, comprising just short of 1,700 words. The Latin inscription has been translated into English for the first time and is accompanied by a comprehensive photographic record. The epitaph belongs to a fifteenth-century monument commemorating João I, King of Portugal, and his English wife, Philippa of Lancaster, situated in the centre of the Founder’s Chapel at the monastery of Batalha in Portugal. Straddling the threshold between text and image, art and literature, sculpture and chronicle, epitaphs have been overlooked in traditional accounts of memorial sculpture. The inscription at Batalha raises important questions about the status and function of the epitaph during the fifteenth century, a time at which attitudes towards the written word – and its sculpted manifestations – were undergoing a radical transformation in western Europe. The feature is supplemented by a conversation with Dr Pedro Redrol and Dr Joana Ramôa Melo on issues surrounding recent and ongoing initiatives at Batalha: the exhibition, Places of Prayer (2015), and the interpretation project, Revealing Medieval Colours.
The Journal of Epigraphic Studies, 2019
A Latin votive stele from Moesia dedicated to six deities · This paper presents a new Latin inscription from the Antiquities market. The iconographical and textual study gives some clues to investigate its provenance. Due to the evidence, we propose a Balkan origin. It was probably made in the Roman province of Moesia. This inscription speaks about a dedication made by a magistratus of an unidentified town to Iuppiter Optimus Maximus, Juno Regina, Hercules Invictus, Liber, Libera, and Ceres.
In what follows I shall analyse funerary epigrams in which the wayfarer is invited to abstain from violating the tomb. I will deal fijirst with inscriptional epigrams, in order to survey motifs and language of the so called arai epitymbioi. I will then analyse the same theme in literary poems, focussing in particular on Gregory of Nazianzus' treatment of the topos, in order to illuminate the diffferences and especially the similarities between the use of this motif in both inscriptional and literary epigrams. I will try to argue that Gregory consciously plays not only with the Greek literary tradition-which is hardly surprising, considering what a cultivated poet he was-but also that he is well acquainted with epigraphic habits, images, and language. He adapts them, and introduces original twists, which are not purely ornamental, but which help to convey new meanings: in particular, the poet puts his versifijicatory competence to use in a social and moral cause, in a time and in a geographical area in which the desecration of tombs was felt as a matter of topical interest, as is shown by the many preserved arai epitymbioi of the Imperial period coming from the Near East.
V. NIzzo (a cura di), Antropologia e Archeologia a confronto. Antropologia e Archeologia dell’Amore, 2021
Progetto Grafico Giancarlo Giovine per la Fondazione Dià Cultura Tutti i diritti riservati. Nessuna parte di questo libro può essere riprodotta o trasmessa in qualsiasi forma o con qualsiasi mezzo elettronico, meccanico o altro, senza l'autorizzazione scritta dei proprietari dei diritti e dell'Editore. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers.
The Hispanic Society's Resurrection relief, a Valencian work from the turn of the sixteenth century
The sculpture Journal, 2020
The Hispanic Society holds a gilded and polychrome wooden relief of the Resurrection, traditionally attributed to the Castilian school of Gil de Siloé (active ca. 1470-1501). In this article we consider a recent hypothesis that proposes a Valencian provenance for this piece. We accept not only its possible provenance from a Valencia guild house, precisely that of the master masons, but also provide the hypothesis that it could be the work of a local sculptor, Carles Gonçalbez that had an active atelier in the city of Valencia (Spain) at the turn of the sixteenth century. Some factors under discussion are the characteristics of the piece; much alike to the works of the sculptor aforementioned, or the peculiar iconography of the Resurrection in the panel, with a kneeling soldier in prayer before the resurrected Christ, present in many Valencian late gothic paintings. https://liverpooluniversitypress.co.uk/journals/issue/5695