Roman Sculpture Research Papers - Academia.edu (original) (raw)

2025, Barga l'isola brachicefala

La priorità nell'occupazione del territorio brachicefali indeuropei frutto d'immigrazione s'una base italica vennero di fuori Barga un'isola brachicefala in valle con fasce liguroidi umbre in cui non si espansero giungendo dall'Appennino... more

2025

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2025, Revue archéologique de Narbonnaise

The preparation of the Glanum volume in the Inscriptions Latines de Narbonnaise collection provided an opportunity to revise and rectify the readings and commentaries on the inscriptions of the colony and its territory. The ancient reading by Héron de Villefosse of the rock epitaph known as the ‘Gaié’ from Les Baux-de-Provence, in situ, has been confirmed and completed, and the onomastics of the deceased clarified; in addition, the type of monument has been identified on the model of Italian tombs.

2025, Journal of Art Crime

2025, LES DEESSES INCOMMODEES

À la suite de Au prisme du readymade (2023), Les Déesses incommodées prolonge une philosophie de l'objet d'art, sous l'espèce du fragment statuaire Le plus souvent, le fragment n'est vu que comme une partie accidentelle ou non, retrouvée ou perdue d'une statue qualifiée uniquement d'œuvre d'art quel que soit le motif de sa création. Ce regard simplement patrimonial sur des fragments exfiltrés de leurs gîtes séculaires risque de mettre de côté le sens premier de l'oeuvre antique ainsi que les circonstances singulières de sa présentation originelle. N'oublions pas que l'art profane est jeune de quelques siècles, alors que l'art religieux est au moins cinq fois millénaire. Les représentations des Vénus appartiennent à l'expression de la mythologie qui pour les Grecs était chose sérieuse en tant que vérité du monde et en rien un conte merveilleux et métaphorique ; la splendeur des représentations statuaires associées à cette foi était un signe distinctif soit votif soit funéraire du prestige social. C'est pourquoi on peut se demander ce que serait la Vénus sans bras aux yeux d'un Antique croyant en sa déesse ? Les Vénus et les Victoires de nos musées malgré leurs manques comme autant d'incommodités demeurent elles-mêmes, comme de magnifiques déesses bien qu'incommodées. On peut penser ici à Valéry s'interrogeant en 1932 : « Je pense à la Grèce coupée en morceaux, aux membres d' Athènes dans les musées. Les Anciens eussent-ils recueilli des choses cassées ? ».

2025, Serie Arqueológica 11

Adventus Hadriani. Investigaciones sobre arquitectura adrianea. El presente volumen constituye una puesta al día del panorama actual de la investigación sobre arquitectura de época adrianea. Recoge un amplio número de contribuciones en... more

2025, Mediterranean Journal of Humanities

Telesphoros is a deity characterized by a distinct iconography and is typically depicted as a child. His iconography is defined by a hooded (cucullus) cloak that envelops nearly his entire body. While there is no scholarly consensus on his origins, archaeological and numismatic evidence demonstrates his widespread veneration in Western Anatolia. The earliest epigraphic and numismatic attestations of Telesphoros are associated with Pergamon. Absent in the Greek mythology, Telesphoros functions as a healing god in conjunction with Asclepius and Hygieia. In certain funerary contexts, he also served as a protector and guide for the deceased in the afterlife. The subject of this study is a marble statuette of Telesphoros from the Gaye Çarmıklı collection, which adheres to traditional iconographic conventions. However, it stands out due to two significant features: its exceptional state of preservation and the presence of a star motif on its hood. By providing a detailed analysis of the Telesphoros cult and its iconography, this study seeks to enhance our understanding of the child god’s role and significance in Anatolia.

2025, OLBA

ABSTRACT Hephaistos is known not to be as popular as the other ‘Olympian Gods’ in Greco-Roman Art. But the ‘small-size statue’ of Hephaistos, found during the excavations undertaken in Olympos in Lykia should not be surprising because... more

2025, Annuario della scuola archeologica di Atene e delle missioni italiane in Oriente

This paper reconsiders the statue known as the Colossus of Porto Raphti (Attica), built on a little island dominating the bay of Raphti and traditionally considered the statue of a tailor (ράφτης). Many hypotheses about the colossus were provided in the last centuries. Scholars thought that it could represent a male or a female figure, intending it as a deity, a personification, or a human being. It was also assumed that the statue was not originally built on the island and that it could have been removed from another public or funerary monument from the nearby demes of Prasiae or Steiria. By analyzing the statue, its possible parallels for it, travelers’ accounts, and the religious topography of the area, we aim to reframe the identification problems around it, paving the way for future debate based on new data.

2025, JOURNAL OF THE BLACK SEA STUDIES

Bu çalışmada, 1997 yılında sivil bir yurttaş tarafından Burdur Arkeoloji Müzesi'ne kazandırılan erkek büstü irdelenmiştir. İlk kez bilim dünyasıyla paylaşılan büst, ikonografisiyle tarafımızca tanrı Zeus olarak tanımlanmıştır. Birden çok yan isimle tapınım gören tanrıya ait olduğunu iddia ettiğimiz bu büst, aynı teritoryumun sınırlarından ele geçen yazıtlı Çeltikçi büstüyle de karşılaştırılarak Zeus "Karpophoros" olarak yorumlanmıştır. Burdur kırsalında Sagalassos teritoryumundaki Çeltikçi Köyü'nden ele geçen yazıtlı büst, yörenin kırsalında meyve veren ya da arazilere ekin sağlayan "Zeus Karpophoros"a tapınımın en somut örneklerindendir. Burdur'un 19 km uzağındaki aynı teritoryumun sınırları içerisindeki Bereket Köyü'nde bulunan benzer formdaki büst örneği de tanrının aynı epithetonuna adanmış olmalıdır; çünkü yazıtsız büstlerin hangi isme ithafen yontulduklarını belirlemek ancak yorumlarla mümkündür. Zeus "Karpophoros"a ithafen adanmış Çeltikçi örneği ise kırsaldaki tanrı epithetonu tanımlamak açısından önemlidir. Ayrıca Burdur kırsalından ele geçen her iki büst örneği, kırsaldaki yöre halkının Zeus ikonografisinde büst formunu benimsediklerini gösterir. Çeltikçi büstünün yanı sıra Burdur'dan ele geçen yazıtlı bir altarla da yörede var olan Zeus "Karpophoros" tapınımı belgelenmektedir. Bereket büstü, bölgenin yerel malzemesi kireç taşından yontulmuştur. İhtimalle de Sagalassos teritoryumundaki yerel bir atölyede taşralı ustalar tarafından üretilmiş olmalıdır. Dalgalı saç ve sakal buklelerindeki işçiliklikle birlikte himationundaki kıvrım yapısıyla da büst, Hadrianus -Erken Antoninuslar (MS 117-161) Dönemi'ne tarihlendirilmiştir.

2025, . Ensoli (ed.), Cipro, Egitto, Palestina. Per servire alla conoscenza del mediterraneo orientale. Studi, attività on-field e nuove acquisizioni scientifiche. Ptolemaica. studi sul mediterraneo, 2, Padova 2023, pp. 157-206.

Studi, attività on-field e nuove acquisizioni scientifiche a cura di Serenella Ensoli ILPOLIGRAFO PTOLEMAICA STUDI SUL MEDITERRANEO ptolemaica. studi sul mediterraneo ptolemaica. studies about the mediterranean sea collana diretta da | a... more

2025, T. De Putter (ed.), International Conference Minerals in Egypt, from Naqada to Alexandria. Royal Academy for Overseas Sciences, Brussels, 3-4 October 2022, Brussels, pp. 263-286

Marble sculptures of Alexandria represent an artistic production deriving from the insertion of the Graeco-Roman statuary tradition into the ancient know-how of Egyptian stone craftsmanship, which can be followed across the art history of Egypt up to Late Antiquity. A group of sculptures found in the eastern suburbs of Alexandria offers the opportunity to broaden the discussion to the phenomenon of production, trade and display of statuary furniture in Egyptian architecture. This thirteen-pieces collection falls into the widespread typology of mythological statuettes that decorated domus and villas across the Roman Empire. However, the Egyptian cultural environment is well testified by the combination of Graeco-Roman and Egyptian deities into the same architectural context.

2025, Diskussionen zur Antiken Skulptur (DiAS). 2. Nachwuchsforum

Nach wie vor stellen Skulpturen einen wichtigen Teil innerhalb der Diskussionen zur materiellen Kultur der griechischen und römischen Antike dar. Vor diesem Hintergrund verfolgen wir mit der Organisation der "Diskussionen zur Antiken Skulptur-DiAS" das Ziel, in regelmäßig abgehaltenen Veranstaltungen unterschiedliche Fragestellungen, Probleme, Kontexte und Aussagepotenziale der Skulpturenforschung zu erörtern. Auf diese Weise wollen wir ein Kommunikationsforum etablieren, in dessen Rahmen alle an diesem Forschungsbereich interessierten Personen über neue und alte Fragestellungen diskutieren können.

2025, J. Lang, C. Marcks-Jacobs (Hg), Arbeit am Bildnis, Regensbug 91-103is. Festschrift für Dietrich Boschung

La figura de Calígula ha despertado un interés en los historiadores que se justifica por las peculiaridades mostradas por el emperador durante su breve principado, entre las que siempre se ha destacado su volun tad firme de relacionarse con los dioses de muy diversas formas; la siempre criticada parcialidad por parte de las fuentes escritas sobre Gaio se contrapone a la realidad representada por los testimonios arqueológi cos que brindan, quizá, la mejor forma de aproximación que en la actualidad puede hacerse hacia su persona. Es por ello por lo que puede resultar de interés el estudio que realizamos así sobre una escultura sedente del emperador localizada en el foro de Torreparedones y que cuenta con la peculiaridad de ser única en el tipo representado, algo que hay que achacar, como veremos más adelante, al contexto local en el que se enmarca. La presente aportación parte del conocimiento exhaustivo de una escultura sedente completa del emperador Calígula, con cabeza reelaborada en Divus Claudius Augustus, y tiene como objetivos funda mentales el conocer la recepción en ámbito local de una escultura imperial y determinar las caracterís ticas locales, si las hubiera, observables en dicha escultura. Además, tendremos ocasión de comprobar de qué modo el tipo elegido por aquella comunidad se ve muy determinado por las esculturas ya presentes en el ámbito oficial donde se inserta la nueva imagen; finalmente haremos alusión al modo de transmi sión de modelos. Es importante reseñar que, excepto la cabeza, que se encuentra reelaborada con un retrato del emperador Claudio, el resto de la escultura es original del periodo caliguleo, de dónde el interés para analizarla en profundidad. En el mes de diciembre del año 2011 se localizó en el yacimiento iberoromano de Torreparedones (Baena, provincia de Córdoba) un grupo formado por tres estatuas sedentes que, tras su uso, habían sido ocultadas en la sala de la curia de esta ciudad a comienzos del siglo III de nuestra era 1. Dichas estatuas, dos masculinas y una femenina, se conservan hoy día en el Museo Histórico de Baena (Fig. en color 1) y han sido objeto de diversos análisis y estudios, sobre todo la que representa a Divus Augustus Pater (Fig. en color 1, centro) 2. La otra masculina está representando a Divus Claudius reelaborada de una escultura de Calígula (Fig. en color 1, izquierda), y la tercera (Fig. en color 1, derecha), carente de retrato, ha sido identificada como Diva Augusta 3. La aparición de este grupo se une al conocido en años anteriores 4 , al que aludiremos más adelante.

2025

L'apparato scultoreo del chiostro Veronica De Duonni Sommario L' allestimento museale Preistoria, protostoria, periodo sannitico, età romana: le testimonianze archeologiche Lester Lonardo I manufatti della Sezione egizia Marcello Rotili La collezione epigrafica del Museo del Sannio. La formazione e alcuni casi di studio Paola Caruso La Sezione di archeologia tardo antica e alto medievale. Note sulla città Marcello Rotili Le epigrafi tardo antiche e alto medievali

2025, 1873/2023. Il Museo del Sannio di Benevento

1873
2023
Il Museo
del Sannio di Benevento
a cura di Marcello Rotili
La Provincia

2025, Cirkelen rondom de Hoge Hof. een archeologische opgraving op een deel van vindplaats de Hoge Hof, in het plangebied van het bedrijventerrein Medel 2 te Tiel. Deel 2 Specialistisch onderzoek

Description and interpretation of 6 sculptured and inscribed stone fragments from an important Roman settlement - Tiel - along the Dutch Limes, west of Nijmegen. Number 1 is an image of a Jupiter enthroned from a Jupiter column; number 2 is the upper part of a votive altar with the fragmentary inscription for an unknown goddess (dea Athalennia or Aphalennia); 3. is the fragmentary top of a inscribed gravestele; 4. a fragment with the letter M matching number 3; 5. left part of a funerary banquet with a standing table servant. The stones date from the beginning of the 2nd untill the first quarter of the 3rd century AD.

2025

Programm: Diskussionen zur antiken Skulkptur, 2. Nachwuchsforum, 18.7.2025, Universität zu Köln. Alice Landskron, Thoralf Schröder und Anne Kleineberg

2025, Il riuso dell’antico nel Vallo di Lauro. Lettura topografica dei dati archeologici

Contributi e saggi pubblicati in questo volume sono stati valutati preventivamente secondo il criterio internazionale della Double-blind Peer Review. I diritti di traduzione, riproduzione e adattamento totale o parziale e con qualsiasi mezzo (compresi i microfilm e le copie fotostatiche) sono riservati per tutti i Paesi. L'editore è a disposizione degli aventi diritto per eventuali riproduzioni tratte da fonti non identificate.

2025, Augustus - Der Blick von außen: Die Wahrnehmung des Kaisers in den Provinzen des Reiches und in den Nachbarstaaten, 1908. Akten der internationalen Tagung ... und Gesellschaft früher Hochkulturen, Bd. 8, Detlev Kreikenbom u.a. (Hrsg.). 2010., S. 197-208

Wahrnehmung des Kaisers in verschiedenen Medien aus dem Blickwinkel einer autonomen nordafrikanischen Stadt

2025, Polymatheia. Festschrift für Hartmut Matthäus anläßlich seines 65. Geburtstags, hrsg. von Stefanie und Robert Nawracala, S. 265-276

Torso einer unterlebensgroßen Statue der Göttin der Gesundheit (4.-frühes 5. Jh. n. Chr.), keinem der herkömmlichen Typen stringent zuweisbar. Ein weiteres Beispiel für "pagane" Idealplastik in vorwiegend christlichem Umfeld.

2025, The Common Thread. Essays in

Looking at
dress, however, ideally requires a knowledge of textiles and textile
production to fully understand the implications of visual and textual
manifestations of clothing. This brief chapter uses two togate
statues from the Ny Carlsberg Glyptotek in Copenhagen as vehicles
to show how our ‘ways of seeing’ have been altered by a better
understanding of ancient textile production.

2025, TWO ILLUSTRATIONS BY MARIA CLARA EIMMART IN ALBUMS OF FRIENDS

The article is devoted to the analysis of drawings by the artist and scientist from Nuremberg Maria Clara Eimmart. The drawings were made in 1693 and 1695 in gouache and pastel techniques, were dedicated to the Swiss scientist Johann Jacob Scheuchzer and diplomat Hans Wilpert Zoller in their personal socalled “albums of friends” (Album amicorum). The article examines the context and circumstances of the
appearance of the drawings, their connection with the scientific activity of Maria Clara, carried out at the
Nuremberg observatory. Also, the connection of Eimmart’s drawings with the genre of emblem and such
a phenomenon as “emblematic thinking” is considered. In this regard, the motto of the drawing, written
in Latin in Scheuchzer’s album, is interesting and important. According to the author, the motto was made
by Maria Clara herself. It is executed in the size (in violation of the laws of Latin versification) of an elegiac
distich, and was not commissioned from a professional poet. The article also suggests that the drawing of
Saint Margaret in Zoller’s album is a self-portrait of Maria Clara Eimmart herself.
Keywords: Maria Clara Eimmart, album of friends, emblematic thinking, Moon, Saint. Margarita, self-portrait

2025, Outward Appearance versus Inward Significance: Addressing Identities through Attire in the Ancient World, edited by A. Hallmann, ISAC Seminars 15, Chicago: Institute for the Study of Ancient Cultures, 2025

2025, STUDIES IN THE ANTIQUITIES OF STOBI VOLUME IV

2025

Bu çalışmada, Antalya ili, Alanya ilçesi sınırlarında yer alan Syedra'dan ele geçen 16 adet ostothekin stilistik değerlendirmesi gerçekleştirilmiştir. Alanya Müzesi'nde korunan ve 1967 yılından, 2015 yılına kadar satın alma, bağış ve müsadere yoluyla müzeye kazandırılan ostotheklerden, 15 adedi kapaksız günümüze ulaşmışken, 1'i de kapaklı olarak ele geçmiştir. Ostotheklerin neredeyse tamamına yakını bölgenin yerel malzemesi kireç taşından yontulmuştur. Ön ve arka uzun yüzlerinde ise tek ya da çift kavisli girlandlı çelenk süslemeleri bulunmaktadır. Bu kavisli girland süslemeleri de lotus, defne ya da akanthus yapraklarıyla tasarlanmışlardır. Tek ya da çift kavisli bu girland çelenklerinin merkezinde de kadın, erkek ya da her ikisinin de portreleri görülmektedir. Bazı örneklerde ise girland çelenklerinin ana eksenine stilize palmet motifleri de yerleştirilmiştir. Kısa kenarların bir yüzünde de kapı betimlemesi yer alırken diğer kısa kenarda ise tek kavisli girlandlı çelenk süslemesi görülür. Dorik düzenli bu kapı betimlemelerinin erken dönem örneklerinde ise kapılarının ayna bölmelerinde kapı tokmağı ve anahtar deliği gibi kapı öğelerine yer verilirken geç dönem kapı betimlemeleri ise oldukça sade görünümde olup, dört ayna bölmeli ve bölmeleri bezemesiz ya da ayna bölmesiz olarak işlenmişlerdir. Ostothekleri süsleyen girland çelenkleri de köşelerdeki taşıyıcılara asılı taeniaeler yardımıyla bağlanmışlardır. Bu taşıyıcılar da bazı örneklerde bukephalion, bazılarında ise stilize açık palmet motiflerine aplike edilen boynuzlar, diğer örneklerde de ½'si bukephalion, diğer ½'si de stilize açık palmet motifiyle tasarlanan taşıyıcılar şeklindedir. Dört tarafı da süslenilen ostotheklerin yorumlanmasında da uzun yüzlerdeki girland biçimleriyle birlikte erkek portrelerindeki saç stili ve kısa yüzlerdeki kapı betimlemelerinden yararlanılmıştır. Örneğin erken dönem ostotheklerindeki tek ya da çift kavisli akanthus yapraklı girlandlı çelenk süslemelerindeki akanthus yaprakları doğal görünümde iken geç dönem örneklerinde ise doğal görünümünden uzaklaşarak yaprak dalı izlenimi kazanmışlardır. Erkek portrelerinde ise erken dönem örneklerinde göz bebeği ve iris işlenmemiş olup, alnına doğru taranan ve alın merkezinde çatal motifi oluşturan uzun saç perçemleriyle şekillendirilen saç stili söz konusudur. Geç dönem örneklerinde ise göz bebeği ve iris derin matkap darbesiyle işlenmiştir ve saç stili de başa yapışık, alnına doğru taranan ve alın merkezinde çatal motifinin oluşturan saç perçemleriyle şekillendirilmiştir. Böylelikle erkek portrelerindeki saç stili, kapı betimlemeleri ve dikdörtgen formdaki sanduka gövdelerini süsleyen girland biçimleriyle bir bütün olarak irdelenen ostothekler, Traianus (MS 98-117) döneminden, MS 3. yüzyılın ortalarına kadar tarihlendirilmişlerdir.

2025

"Λαθών ἐτέχθης", τροπάριον προφητείας Χριστουγέννων, κατά παράκλησιν ομοτέχνου κ. Σπυρίδωνος Πλούμπη, πρωτοψάλτου Ιερού ναού Αγίου Φανουρίου Θεσσαλονίκης

2025

Al km 19,300 della via Flaminia, immerso nel paesaggio ancora intatto della Campagna Romana, si erge l'imponente struttura del cosiddetto Arco di Malborghetto. L'edificio, oggi inglobato in un casale, è in realtà un raro esempio superstite di arco quadrifronte di epoca tardoantica, costruito in opera laterizia agli inizi del IV secolo d.C. su una pianta rettangolare di circa 15x12 metri. Le basi dei piloni e le cornici delle arcate erano originariamente in travertino, mentre la trabeazione era costituita da elementi in marmo, in parte di reimpiego, alcuni dei quali oggi ancora visibili nell'area circostante. L'arco fu realizzato all'incrocio tra la via Flaminia e una strada secondaria che proveniva da Veio e si dirigeva verso le cave di Grotta Oscura, configurandosi quindi come una struttura a quattro fornici. Già agli inizi del Novecento, lo studioso Fritz Toebelmann identificò l'arco come un monumento celebrativo fatto erigere da Costantino in occasione della vittoria su Massenzio nel 312 d.C. Toebelmann ipotizzò inoltre che proprio in quel luogo, nella notte tra il 27 e il 28 ottobre, l'imperatore avesse avuto la celebre visione della Croce. La proposta, supportata da considerazioni topografiche e simboliche, ha avuto ampio seguito nella letteratura scientifica. Nel corso del Medioevo il monumento subì un completo stravolgimento funzionale e strutturale. I quattro fornici vennero chiusi, sul lato orientale fu costruita un'abside e l'edificio fu trasformato in una chiesa a pianta a croce greca dedicata a San Nicola. Rimangono ancora visibili la parete di chiusura del fornice nord, l'arco absidale in blocchi di tufo del fornice est e le fondazioni dell'abside. All'esterno si estendeva un piccolo sepolcreto, segno della continuità del culto cristiano nell'area. Con il tempo la chiesa venne inglobata in un piccolo borgo fortificato, denominato Burgus Sancti Nicolai de Arcu Virginis, che prese nome sia dalla chiesa sia dalle vestigia romane preesistenti. Alla struttura vennero aggiunti merli, una torre e un campanile, conferendole l'aspetto di una rocca difensiva. Questo complesso venne distrutto nel 1485 durante uno scontro tra le famiglie Orsini e Colonna, nel contesto della guerra tra i sostenitori di Innocenzo VIII e i baroni romani. L'attacco degli Orsini fu devastante: il borgo venne incendiato e abbandonato, e della chiesa sopravvissero solo pochi resti. Dopo il saccheggio, la struttura fu trasformata in un casale agricolo. La torre, che fino al XVII secolo conservava ancora il coronamento merlato, fu adattata ad abitazione rurale e rimase per lungo tempo di proprietà del Capitolo di San Pietro. Nel 1567, sotto papa Pio V, uno degli affittuari promosse lavori di restauro, documentati da un'iscrizione in maiolica sul fronte orientale, accompagnata da uno stemma pontificio oggi scomparso. Il monumento fu successivamente usato anche come stazione di mezza posta tra Prima Porta e Castelnuovo nel 1744, periodo in cui fu dotato di una stalla sul lato nord e di una piccola chiesa a sud. Nel 1870 passò a diversi proprietari privati fino all'acquisto da parte dello Stato italiano nel 1982. Le numerose trasformazioni cui l'arco fu sottoposto nel tempo si accompagnarono a un processo sistematico di spoliazione. In epoca medievale e moderna, gran parte degli elementi marmorei che ornavano la struttura originaria furono asportati e riutilizzati altrove, secondo una prassi molto diffusa e regolata dallo Stato Pontificio. Va ricordato che, tra XIV e XVI secolo, la demolizione di edifici antichi era soggetta a una legislazione oscillante: se da un lato si tentava di preservare gli edifici con bolle papali e decreti che ne proibivano la distruzione arbitraria (come la bolla Cum almam nostram urbem di Martino V del 1425), dall'altro erano frequenti le concessioni ad personam per l'asportazione di materiali da costruzione, in particolare marmo e travertino. Malborghetto non sfuggì a questa logica predatoria: della decorazione architettonica originaria sopravvivono oggi solo frammenti e l'attico, probabilmente ricoperto da una trabeazione continua, fu privato completamente del suo rivestimento esterno. A lungo si è ritenuto perduto ogni elemento relativo alla parte sommitale dell'arco, ma una scoperta recente potrebbe riaprire il discorso. Alcuni anni fa, in una proprietà privata adiacente al monumento, furono recuperati vari frammenti architettonici, tra cui tre elementi in marmo di forma tronco-conica, finora mai messi in relazione con l'Arco. Chi scrive propone per la prima volta una nuova lettura: si potrebbe trattare proprio dei resti della cuspide dell'attico, coerente con l'iconografia elaborata da Giuliano da Sangallo nel 1465, che nel Rinascimento disegnò una prima ricostruzione grafica dell'Arco, con un coronamento conico. Se confermata, questa ipotesi indicherebbe che tali elementi, per la loro unicità formale e collocazione prossima al monumento, potrebbero essere gli unici superstiti della sommità originaria dell'arco, sfuggiti miracolosamente alle spoliazioni. Attualmente i frammenti sono esposti a terra nel parco archeologico di Malborghetto, ma nessuno studio analitico ha collegato la loro presenza alla cuspide ritratta dal Sangallo. A integrazione del testo sono state riproposte delle immagini ricostruttive della storia dell'Arco di Malborghetto, a queste si affiancano fotografie dei reperti in marmo tronco-conici sopra menzionati. Andrea Venier L'Imperatore Costantino presenzia la costruzione dell' arco commemorativo fatto costruire sulla via Flaminia… conosciuto come ' Arco di Malborghetto ' L'Arco dopo alcuni secoli della fine dell'impero è già in una fase di abbandono e degrado.

2025, T. Greub – S. Kloß – T. Schröder (Hrsg.), Kontextwechsel und Bedeutung, Morphomata 52

Mit der Neugründung Konstantinopels, des antiken Byzantions, durch Konstantin I. erhielt die Stadt auch einen Hippodrom, der spätestens 330 n. Chr. zur feierlichen Einweihung der neuen Residenzstadt fertiggestellt war. 1 Die Pferde bzw. Wagenrennbahn befand sich nahe der Spitze der Halbinsel im politischen und religiösen Zentrum der Stadt. 2 Sie liegt südwestlich der Hagia Sophia und grenzte im Südosten unmittelbar an den Großen Palast der byzantinischen Kaiser an, mit dem es durch einen eigenen Gebäudetrakt, dem Kathisma, in dem sich die imperiale Loge befand, auch unmittelbar verbunden war. Der Hippodrom diente zur Abhaltung von öffentlichen Spielen zur Unterhaltung, die neben den in der Stadtbevölkerung außerordentlich beliebten Wagenrennen auch Theater Pantomime und Akrobatik aufführungen sowie die Vorführungen exotischer Tiere und im 12. und 13. Jh. auch Ritterturniere nach westlichem Vorbild beinhalteten. 3 Ferner

2025

A nossa reflexão abordará a questão da presença de um stibadium, leito semicircular com mesa, construído em alvenaria no interior de um ninfeu decorado com mosaico, numa posição frontal, simétrica e sobreelevada em relação ao ingresso na sala do triclinium, bem como a sua ligação com o ritual do conuiuium, na pars urbana da Villa romana do Rabaçal. Estas estruturas, descobertas nas campanhas de trabalhos arqueológicos aqui realizados entre 1986 e 1992, foram desde então interpretadas como fazendo parte de um jardim interior, dado terem sido nelas assinalada a existência, a um nível inferior, de um conjunto de cinco canaletas ligadas, aparentemente, a um tanque exterior. Inconformados com esta interpretação, observámos de novo em 1997, ao pormenor, esta construção absidal, tendo em conta a sua axialidade e o facto de nela ter sido incorporado um sistema de canalizações que permitiam, porventura, ou espalhar água por todo o pavimento de mosaico do triclinium, sala rectangular de maior aparato decorativo da pars urbana da Villa, ou, pelo contrário, melhor isolar da humidade o interior do pavimento da sala em sigma. Esta discussão será o ponto central da nossa comunicação. Serão ainda abordadas, em jeito de epílogo, questões relacionadas com a continuidade da ocupação da Villa na Antiguidade Tardia, sua provável ocupação em época suévica e a continuidade da utilização do local como espaço de habitação e de culto cemiterial até ao século XVI.

2025, Encontro de Investigação Jovem da U.Porto (IJUP)

Roman thermal complexes were not only places for physical healing but also held religious significance. The sacred connection between water and divine forces is evident in nymphaea dedicated to aquatic deities. While archaeological findings in regions such as Italy and North Africa have shed light on this phenomenon, Gallaecia presents fewer preserved examples. This study investigates the Nymphaeum of the Roman Baths of Chaves, aiming to contextualize its role within the broader spectrum of Roman religious and architectural traditions.

2025, Archäologische Nachrichten aus Baden

Wer heute mit der Bahn von Singen nach Stuttgart fährt, ahnt wohl kaum, dass der Zug kurz nach dem Bahnhof Eutingen im Gäu, Ldkr. Freudenstadt, quer durch eine aussergewöhnliche Fundstelle rast. Denn heute ist dort, mit Ausnahme eines grossen Sandstein-Quaders nahe den Gleisen, oberflächlich nichts mehr zu erkennen. Und doch stammt von hier einer der wichtigsten Fundkomplexe römischer Skulptur aus Südwestdeutschland. Vor Beginn der Ausgrabungen 2001-2002, ausgelöst durch die geplante Erschliessung eines Gewerbegebietes, deutete nichts auf die spätere Entdeckung. Zwar wusste man von früheren Beobachtungen, dass sich im Ackerland zwischen Rohrdorf und Eutingen eine römische Fundstelle verbarg. Doch erst mit den Grabungen des Landesdenkmalamtes Karlsruhe im Nordteil der ca. 3 ha grossen Anlage wurde klar, dass es sich hierbei nicht um einen gewöhnlichen römischen Gutshof (villa rustica) im Umkreis des antiken Sumelocenna (Rottenburg am Neckar) handelt. Aussergewöhnlich war bereits die Entdeckung einer an die nördliche Umfassungsmauer angebauten Halle, etwa 30 m lang, aber nur 2,5 m breit, darin elf Sandsteinquader in regelmässigen Abständen aufgereiht. Als man daran ging, eine massive Schuttschicht zwischen den Quadern abzuräumen, fand man wenige Zentimeter unter der Ackerkrume das Unerwartete: Zwischen und unter dem Steinschutt lagen Hunderte Bruchstücke vollplastischer Figuren, darunter die Köpfe von Merkur, Apollo, Venus und Minerva, eine Keule des Herkules, ein Steinkauz als Begleiter der Minerva sowie ein Hund, der zur Jagdgöttin Diana gehören dürfte. Das buchstäblich gewichtigste Stück aber war ein mehr als 2 m hoher Torso des Kriegsgottes Mars, nackt dargestellt, mit Helm und ehemals mit Speer in der rechten Hand. Die Gesamtschau zeigt, dass der Skulpturenfund mindestens elf, vermutlich aber zwölf Gottheiten umfasst. Die Skulpturen standen starr, auf Frontalsicht gearbeitet, nebeneinander aufgereiht und in der Regel einzeln auf den Sockeln, sie erzählten also keine Geschichte aus der antiken Mythologie. Vergleiche zu einem solchen Bauwerk sind nördlich der Alpen bislang nicht bekannt. Um einen Tempel wird es sich wohl kaum gehandelt haben, da Opfergaben, etwa in Form von Münzen, Fibeln, Lampen oder anderen Gerätschaften, fehlen. Weil das Gebäude von Süden her offen einsehbar war und ein Pultdach trug, könnte man an eine Art «Skulpturenhalle» denken, die dem Besitzer und seinen Gästen als kultivierter Blickfang beim Spaziergang innerhalb der Anlage diente.

2025, En los albores del Renacimiento: la biblioteca del Marqués de Santillana.

Conferencia impartida dentro del curso "Las bibliotecas como espacios del saber: un recorrido histórico-artístico", realizado en la UNED de Cantabria del 22 al 23 de noviembre de 2024 y dirigido por David Ojeda Nogales. En ella se realiza una aproximación a una de las primeras bibliotecas nobiliarias del siglo XV, la cual se convertirá en una de las más importantes de Europa en el siglo XIX.

2025

Manuel JUANEDA MAGDALENA-GABELAS Escenas de fertilidad y maternidad: incentivos de vida en el Más Allá . . . . . . . . . . . . Joaquín G. LIzANA SALAFRANCA Una representación inusual en la fauna nilótica grabada sobre escarabeos: ¿un... more

2025

Stalni postav antike Arheološkog muzeja Zadar izlaže građu rimske antike po principu tematskih cjelina, kao što su rimska vojska, arhitektura i urbanizam, umjetnost, religija i pokapanje. Veliki dio izložene građe čini kamena plastika, točnije 96 vrijednih primjeraka kojima je bila potrebna konzervatorsko-restauratorska obrada. U periodu od dvije godine na 50-ak kamenih spomenika izvršena je preventivna zaštita, dok je na 25 spomenika izvršen kompletan postupak zaštite. U ovom radu opisuje se konzervatorski postupak i petrografske analize provedene na mramornim skulpturama i portretima iz zbirke Danieli. Na temelju uzoraka kamene prašine, uzetih s eksponata, determinirana je vrsta i nastanak stijene. Petrografskom analizom određena je točnija provenijencija kamena i lokacija mogućih kamenoloma.The permanent exhibition of Roman antiquities in Archaeological Museum Zadar is organized by themes, such as Roman military, architecture and urban planning, art, religion and burials. St...

2025, Why Ancient Objects Matter: Greek and Roman Art and Materiality from Antiquity to the Present

This collection of twenty-eight essays by emerging and established scholars presents work that deeply engages with the materiality and history of Greek and Roman artworks, artifacts, and monuments. Dedicated to Prof. John Pollini in honor of his contributions to the study of the ancient Mediterranean world, this volume reflects the broad range of his scholarship, from sculpture (especially portraiture) and its ancient contexts to material studies, iconographic analysis, and the complex ways that religious and political change both shape and are shaped by material culture. The contributions assembled in this volume highlight the diverse ways in which contemporary scholars construct interpretations of visual art based on a deep understanding of the ancient world, precise attention to detail and technique, and rigorous research into the historical contexts of objects, myths, literature, and iconography. Through their interdisciplinary approaches, the contributors offer new insights on artistic production, viewer reception, and social history, with an emphasis on the theme of "transformation" as objects, artworks, and ideas journey through time and from one culture to another.

2025

The application of scientific surveys on classical statuary has developed rapidly in recent years thanks to the growing interest of archaeologists and scholars in the "rediscovery" of polychromy in ancient works. The project proposed here concerns the creation of the first Italian database on ancient polychromy funded by an Italian museum; it also aims to build an innovative method, on how to communicate following results, that can attract a large number of people, thanks to the use of new technologies and digital software never used in Italy for the enhancement of this field of studies. Mann-In-Colours is a three-year scientific project carried out by the “National Archaeological Museum of Naples” (MANN) in collaboration with the National Taiwan Normal University di Taipei. The project works on chromatic traces, sometimes imperceptible to the human eye but still existing on sculptures. It has the purpose to recover the original aspect of these sculptures and so to revolut...

2025, ROMAN CARTHAGE: A REAPPRAISAL EDITED BY JESPER CARLSEN & JOHN LUNDY

The present study focuses on three iconographical cases of Roman Carthage, which serve to illustrate the power-laden message that the Caput Mundi incarnates, as guarantor of peace and prosperity; War and Victory and control of the remote peoples and ethnic groups of Africa. In
that way, we will make an approach and new considerations to some cases, acting as guides for the three axes of the expression of Roman
dominion in the province. First of all, the socalled altar of the Gens Augusta, which represents the exaltation of the Augustan age and
constitutes the continuity – in the new proposal date of second century AD – of the dynastic propaganda initiated in Roman Africa in Augustan
times represented by the first altar in Carthage; secondly, the triumph, symbolised by the reliefs of Victories discovered on the Byrsa Hill; and
thirdly, the conquest and assimilation of African communities under Roman control, evidenced by the hermae topped with heads of autochthonous African individuals found in the Antonine Baths.

2025, L’AFRICA ANTICA DALL’ETÀ REPUBBLICANA AI GIULIO-CLAUDII. L’Africa Romana, XXII a cura di Samir Aounallah, Frédéric Hurlet e Paola Ruggeri

In this study, we will examine a selection of portraits and iconic sculptures from the area of the theatre and the Temple of Apollo complex in Bulla Regia with the aim of highlighting certain problems concerning their identification, chronology, and their archaeological context, as is the case with the portraits of Crispina and Domitian. The study focuses on the one hand, on careful documentation work carried out in the archives of Parigi and Rome, since a comprehensive monographic study of sculpture from this city has not yet been published. On the other hand, we have also chosen to re-evaluate some of the sculptures both from an iconographic point of view and from an up-to-date Kopienkritik, such and such as has been taking place for some time. In this way, we could suggest a more precise chronology and, furthermore, reformulate their original architectural contextualisation and symbolic meaning.

2025, NİĞDE ARKEOLOJİSİ VE KÜLTÜREL MİRASI-1

This paper assesses a group of Iron Age artefacts housed in the Niğde Museum. The primary objective of this study is to present the unpublished collection of metal artefacts, which are stored in the museum's archives to contribute to the next research on the subject. The assemblage is acquired by the museum through a purchase that includes thirteen bronze artefacts. They have similar characteristics to Phrygian-type objects, including a ladle, two small cauldrons, a jug, a fibula, a belt, and seven bowls. Six of the bowls feature omphaloi, with the central navel encircled by concentric rings with triangular sections. One of these bowls is decorated with petals, while the other is a ribbed bowl. The seventh bowl lacks an omphalos and is distinguished by a rounded band around the rim. One of the spherical-bodied cauldrons is equipped with a basket handle, whereas the other lacks a handle. The jug is a typical example that features a trefoil rim, spherical body, and flat base with its handle. Even though the belt is incomplete, it is adorned with geometric incised designs on the plates. The only known fibula in the assemblage is a larger one with moulded details on its body. Not only detailed drawings of the artefacts were produced and they were presented as a catalogue as part of this study, but also analogies made with the comparable examples of this assemblage known from the Iron Age burial contexts across Türkiye, as well as from museums and private collections.

2025, Phaselis X

Journal of Interdisciplinary Mediterranean Studies, is open to users and it is an 'open access' journal. Users are able to read the full texts, to download, to copy, print and distribute without obtaining the permission of the editor and author(s). However, all references to the articles published in the e-journal Phaselis are to indicate through reference the source of the citation from this journal. Phaselis: Journal of Interdisciplinary Mediterranean Studies is a peer-reviewed journal and the articles which have had their peer reviewing process completed will be published on the web-site (journal.phaselis.org) in the year of the journal's issue (e.g. Issue X: January-December 2024). At the end of December 2024 the year's issue is completed and Issue XI: January-December 2025 will begin.

2025

Von archäologischer Seite wird in dieser Arbeit erstmals umfassend das Bild der alten Frau in der griechischen Kunst untersucht. Da mit der Darstellung von Alterszügen an Frauen weniger das reale Alter der Person als vielmehr ihr sozialer Status und ihr Ansehen in der Gesellschaft zum Ausdruck gebracht werden sollten, lassen sich Altersmerkmale auch nur an Vertreterinnen bestimmter Personengruppen wie Ammen, Hetären oder Frauen im Kult feststellen. Während sich z.B. die Figur der Amme vom 6. Jh bis in hellenistische Zeit verfolgen lässt, finden wir die Gestalt der alternden Hetäre vor allem im 4. Jh. Unter den literarischen Topoi für alte Frauen schlägt sich insbesondere die Trunksucht in den archäologische Zeugnissen nieder.

2025, Nassauische Annalen

2025, Arquivos Brasileiros de Psicologia

Would Skinner's moral theory be dependent on his scientific theory to the point of becoming meaningless without it? The mere suggestion of such hypothesis brings the problem of naturalistic fallacy, that is, the problem of deriving statements of "ought" kind from statements of "is" kind. This issue is used here as an indication that suggests how problematic sustaining a moral and a scientific theory in the same ambit can be. The aim of this article, in this context, is to analyze if that is the case of Radical Behaviorism. Inspired by the naturalistic fallacy dilemma, the first step is to expose the structural and functional differences between statements of "ought" kind and statements of "is" kind. To do so, the strategy is to present, under the scope of language philosophy, the differences between factual and valuative assertions. The next step consists in analyzing what the nature of relations between Skinner's scientific and moral theories is. That is, if there are necessary or contingencial relations. By doing so it is expected to be plausible the presentation of a possible answer to the central question of this article.