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Journal articles on the topic 'Roman funerary art'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Hellinckx, Bart R. "Studying the Funerary Art of Roman Egypt." Chronique d'Egypte 85, no. 169-170 (2010): 126–56. http://dx.doi.org/10.1484/j.cde.1.102026.

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Fadda, Salvatore. "Una nota su due urne e un’ara cineraria romana recentemente apparse sul mercato antiquario londinese." Anales de Arquelogía Cordobesa 29 (January 11, 2019): 227–44. http://dx.doi.org/10.21071/aac.v29i0.10107.

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ItalianoNel corso di un’asta di antichità della casa Bonham’s tenutasi a Londra il 30 novembre del 2016 sono riapparsi alcuni cinerari romani: due urne e un altare dei quali si ignorava la collocazione da quando furono alienati dalla collezione di Lowther Castle nel 1947. Gli oggetti, tutti di provenienza urbana, hanno viaggiato per l’Europa attraversando diverse collezioni private rimanendo perciò lontani dal grande pubblico e dalle indagini storico-artistiche. La conseguente estrema penuria di letteratura su questi manufatti ha reso opportuna la realizzazione di questa nota, con la quale si

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Pollard, Nigel. "Art, benefaction and élites in Roman Etruria. Funerary relief fragments from Saturnia." Papers of the British School at Rome 66 (November 1998): 57–70. http://dx.doi.org/10.1017/s0068246200004232.

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ARTE, BENEFICENZA ED ELITE NELL'ETRURIA ROMANA. FRAMMENTI DI RILIEVI FUNERARI DA SATURNIAQuesto articolo discute due frammenti di scultura, uno di una scena di banchetto e l'altro rappresentante un gladiatore, attualmente localizzati nella moderna città – e precedente colonia romana – di Saturnia. I frammenti provengono da una grande villa tardo repubblicana/alto imperiale situata nei dintorni della città. L'evidenza epigrafica suggerisce che questa villa potrebbe essere appartenuta ad una famiglia locale (probabilmente di decurioni), i Varii. La scultura potrebbe derivare dalla tomba monument

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Burrus, Sean P. "A Jewish Child’s Portrait? The Kline Sarcophagus of Monteverde and Jewish Funerary Portraiture in Rome." Images 10, no. 1 (2017): 3–22. http://dx.doi.org/10.1163/18718000-12340077.

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Abstract This article examines the evidence for the use of portrait sculpture on sarcophagi belonging to members of the Jewish community of Rome. The use of the “learned figure” motif, commonly employed in Roman sarcophagus portraiture and by Jewish patrons, is highlighted, and possible creative appropriations of the trope in Jewish contexts are raised. It is further argued that, among Jewish sarcophagus patrons, the decision to include funerary portraiture went hand in hand with the decision to adopt popular and conventional Roman styles and motifs, and to engage Roman cultural and visual res

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Buchanan, Sophie. "Representing Medea on Roman Sarcophagi: Contemplating a Paradox." Ramus 41, no. 1-2 (2012): 144–60. http://dx.doi.org/10.1017/s0048671x00000291.

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It is one thing to find Medea compelling, another to make her art, let alone funerary art. This article faces this complexity head on by examining Medea's visual identity within a sepulchral context. It interrogates her presence on Roman sarcophagi of the mid to late second century CE. The corpus is not insubstantial—nine intact relief panels plus further fragmentary pieces offer ample testament to Medea's presence in the funerary context. Beyond this sphere, Medea's emotionally charged legacy needs no introduction, and her characterisation—outsider, avenger, semi-divine sorceress, victim and

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Kleiner, Diana E. E. "Roman funerary art and architecture: observations on the significance of recent studies." Journal of Roman Archaeology 1 (1988): 115–19. http://dx.doi.org/10.1017/s1047759400010060.

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Pilipovic, Sanja. "Heroic themes of the Trojan cycle in Roman funerary art example of a relief from Pincum." Balcanica, no. 37 (2006): 25–45. http://dx.doi.org/10.2298/balc0637025p.

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The fragment of a marble relief from Roman Pincum (modern-day Veliko Gradiste, Serbia) showing Achilles and Hector inspires to explore the symbolic meaning of this mythological composition and to examine other relief's depicting heroic themes of the Trojan Cycle in the funerary art not only of Upper Moesia but also of other provinces of the Empire, notably Noricum and Pannonia. Based on the available data, a reconstruction of the original appearance of the funerary monument with the relief of Achilles and Hector from Pincum is attempted, and the inscription discovered along with it analyzed. A

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Bell, Catherine. "Funerary Artefacts, Cemetery Souvenirs and Final Resting Places." European Journal of Life Writing 9 (July 6, 2020): LW&D.CM34—LW&D.CM49. http://dx.doi.org/10.21827/ejlw.9.36915.

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This photo essay discusses artworks that explore the commemorative dimensions of death through socially-engaged artistic processes, and the use of Oasis® floral foam—an ephemeral material that is integral to making flower arrangements that venerate the cycles of life and the celebratory milestones between birth and death. It examines the material’s uncanny corporeal associations when it is formed into vessels, and the ways in which the foam may be seen to transform meaning into materiality. It reflects on how the exhibition of cremated remains of Roman Londoners with associated funerary vessel

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Bradley, Mark. "OBESITY, CORPULENCE AND EMACIATION IN ROMAN ART." Papers of the British School at Rome 79 (October 31, 2011): 1–41. http://dx.doi.org/10.1017/s0068246211000018.

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This article explores the significance of sculptural and painted representations of ‘overweight’ and ‘underweight’ body types in the visual culture of Roman Italy from the fourth centurybcthrough to the late Empire, and considers the relationship of this imagery to Greek and Hellenistic precedents. In spite of the topical character of fat in 21st-century sociology, anthropology and medical science, obesity and emaciation in the ancient world remain almost completely unexplored. This article sets out to examine the relationship of fat and thin bodies to power, wealth, character and behaviour, a

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Riggs, Christina. "Forms of the Wesekh Collar in Funerary Art of the Graeco-Roman Period." Chronique d'Egypte 76, no. 151-152 (2001): 57–68. http://dx.doi.org/10.1484/j.cde.2.309163.

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Nováková, Mgr PhD Lucia, and Mgr Monika Pagáčová. "Dexiosis: a meaningful gesture of the Classical antiquity." ILIRIA International Review 6, no. 1 (2016): 209. http://dx.doi.org/10.21113/iir.v6i1.213.

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Dexiosis is a modern term referring to the handshaking motif appearing in ancient Greek art, which had specific meaning and symbolism. Though it was a characteristic iconographic element of the Classical antiquity, its roots can be traced back to the Archaic period. Dexiosis was not merely a compositional element connecting two people, but carried a deeper meaning. Most often, the motif was associated with funerary art of the Classical Athens. On funerary monuments the deceased were depicted in the circle of their families, which reflected the ideals of contemporary society. Particularly notab

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Leshem, Bar. "From Grief to Superbia: the Myth of Niobe in Greek and Roman Funerary Art." Acta Classica Universitatis Scientiarum Debreceniensis 56 (September 1, 2020): 281–96. http://dx.doi.org/10.22315/acd/2020/18.

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The Greek myth of Niobe was known in the ancient world both by literary sources and visual representations. Both in Ancient Greece and in Ancient Rome, the myth was represented, alongside a variety forms of art, in funerary art, but in a different manner during each period of time. In Ancient Greece, the myth was represented on Apulian and South Italian vases, portraying the finale scene of the myth: Niobe’s petrification. In Ancient Rome, a shift is visible: the portrayal of the scene of the killing of Niobe’s children on sarcophagi reliefs. The aim of this paper is to follow the iconography

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Riggs, Christina. "Facing the Dead: Recent Research on the Funerary Art of Ptolemaic and Roman Egypt." American Journal of Archaeology 106, no. 1 (2002): 85. http://dx.doi.org/10.2307/507190.

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Pilipovic, Sanja. "A travelling speculator (CIL III 1650)a glimpse of the everyday life of the principales through the window of Roman funerary art." Balcanica, no. 47 (2016): 7–24. http://dx.doi.org/10.2298/balc1647007p.

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The focus of the paper is on the travel scene depicted on the funerary stele of L. Blassius Nigellio (CIL III 1650), a speculator of legio VII Claudia, from Viminacium. Seeking to gain a more comprehensive understanding of this scene from the everyday professional life of a Roman speculator, it draws attention to an iconographic pattern shared by a group of monuments of Roman principales (speculatores, frumentarii, beneficiarii consularis) among which the scene from Viminacium holds a very important place. It also takes a look at the origin and social status of the Upper Moesian speculator who

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15

Corke-Webster, James. "Roman History." Greece and Rome 65, no. 2 (2018): 259–66. http://dx.doi.org/10.1017/s0017383518000207.

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Identity studies live. This latest batch of publications explores what made not just the Romans but the Italians, Christians, and Etruscans who they were. We begin with both age and beauty, the fruits of a special exhibition at the Badischen Landesmuseum Karlsruhe in the first half of 2018 into the most famous of Roman predecessors, the Etruscans. Most of the exhibits on display come from Italian museums, but the interpretative essays that break up the catalogue – which are also richly illustrated – are by both Italian and German scholars. These are split between five overarching sections cove

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Gavrilovic-Vitas, Nadezda, and Jelena Andjelkovic-Grasar. "A message from beyond the grave: Hercules rescuing Hesione on a Stojnik funerary monument." Starinar, no. 70 (2020): 111–25. http://dx.doi.org/10.2298/sta2070111g.

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The research of this study is dedicated to a unique iconographical scene in the territory of the Central Balkan Roman provinces, of Hercules rescuing Hesione from a sea-monster (ketos), depicted on a funerary monument found in 1931 at the site of Stojnik, in the vicinity of Belgrade, antique Singidunum, and now displayed in the lapidarium of the National Museum in Belgrade. The funerary monument was erected for the deceased, a veteran of cohors II Aurelia nova, Publius Aelius Victorinus, by his wife Aurelia Rufina and their son Publius Aelius Acutianus. The rich iconography of the monument mak

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Milovanovic, Bebina, and Jelena Andjelkovic-Grasar. "Female power that protects: Examples of the apotropaic and decorative functions of the Medusa in Roman visual culture from the territory of the Central Balkans." Starinar, no. 67 (2017): 167–82. http://dx.doi.org/10.2298/sta1767167m.

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The motif of Medusa had significant importance in Roman visual culture, reflecting the comprehension of ancient people about this frightful being. Visual material from the territory of the Central Balkans suggests a widely known understanding and belief of the protective as well as apotropaic functions of Medusa. The motif of Medusa i.e. the Gorgoneion, was one of the well known and most represented motifs in architecture, funerary art and artiminori and a widely appreciated decoration of jewellery, signifying the importance of Medusa?s protection for people, especially for women.

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18

Mazzeri, Chiara M. "Ancestors at the gate. Form, function and symbolism of the imagines moiorum. A comparative analysis of Etruscan and Roman funerary art." Opuscula. Annual of the Swedish Institutes at Athens and Rome 7 (November 2014): 7–22. http://dx.doi.org/10.30549/opathrom-07-02.

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Scholars have interpreted the imagines maiorum (face-like representations of Roman familial ancestors), such as the ones represented in the famous Barberini statue, as wax masks that were worn by actors who impersonated the dead during funeral processions. Since members of the Roman aristocracy displayed the imagines of their ancestors who had held an important office, most scholars have concluded that the usage of the imagines was merely social and political and therefore devoid of any ritual or symbolic value. My paper, through close analysis of Roman literary and material evidence, argues t

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19

Römer, Cornelia. "The Beautiful Burial in Roman Egypt: Art, Identity, and Funerary ReligionThe Beautiful Burial in Roman Egypt: Art, Identity, and Funerary Religion. By RIGGSCHRISTINA. Pp. xxiii, 334. Oxford, Oxford University Press, 2005. ISBN 978 0 19 927665 3. £124." Journal of Egyptian Archaeology 97, no. 1 (2011): 266–67. http://dx.doi.org/10.1177/030751331109700130.

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Davies, Glenys. "Roman Funerary Art - Marion True, Guntram Koch (edd.): Roman Funerary Monuments in the J. Paul Getty Museum, vol. 1. (Occasional Papers on Antiquities, 6.) Pp. 144; 199 figures. Malibu, CA: J.Paul Getty Museum, 1990. Paper." Classical Review 43, no. 2 (1993): 395–96. http://dx.doi.org/10.1017/s0009840x00287945.

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21

Planchette, Yoanna. "The Old Testament Prophecy of the Resurrection of the Dry Bones between the West and Byzantium." Arts 10, no. 1 (2021): 10. http://dx.doi.org/10.3390/arts10010010.

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The imagery of the vision of the valley of dry bones (Ezek 37. 1–14) still fascinates theologians and historians of religion with its exegetical and liturgical significance. Rarely represented in medieval art, the iconography of this singular topic related to the Last Judgment deserves closer attention on the part of art historians. The aim of the present contribution is to remedy this situation by offering an analysis of the main pictorial representations of Ezekiel’s prophecy within the medieval East and West. This paper examines the evolution of the theme from the first pictorial evidence f

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Aldhouse-Green, Miranda. "Connective Tissue: Embracing Fluidity and Subverting Boundaries in European Iron Age and Roman Provincial Images." Religions 12, no. 5 (2021): 351. http://dx.doi.org/10.3390/rel12050351.

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There is a mounting body of evidence for somatic exchange in burial practices within later British prehistory. The title of the present paper was sparked by a recent article in The Times (Tuesday 1 September 2020), which contained a description of human bone curation and body mingling clearly present in certain Bronze Age funerary depositional rituals. The practice of mixing up bodies has been identified at several broadly coeval sites, a prime example being Cladh Hallan in the Scottish Hebrides, where body parts from different individuals were deliberately mingled, not just somatically but al

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23

Cruz-Uribe, Eugene. "The Beautiful Burial in Roman Egypt: Art, Identity, and Funerary Religion. By Christina Riggs. Oxford: Oxford University Press, 2005. Pp. 334 + 121 figs. $150." Journal of Near Eastern Studies 70, no. 1 (2011): 143–44. http://dx.doi.org/10.1086/659049.

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Corcoran, Lorelei H. "A miscellany of funerary material from Ptolemaic and Roman Egypt - CHRISTINA RIGGS, THE BEAUTIFUL BURIAL IN ROMAN EGYPT: ART, IDENTITY, AND FUNERARY RELIGION (Oxford Studies in Ancient Culture and Representation; Oxford University Press2005). Pp. xxiii + 334, figs. 126, colour pls. 12. ISBN 0-19-927665-X." Journal of Roman Archaeology 23 (2010): 770–72. http://dx.doi.org/10.1017/s1047759400003111.

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25

Favro, Diane, and Christopher Johanson. "Death in Motion: Funeral Processions in the Roman Forum." Journal of the Society of Architectural Historians 69, no. 1 (2010): 12–37. http://dx.doi.org/10.1525/jsah.2010.69.1.12.

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Scientifically accurate, three-dimensional digital representations of historical environments allow architectural historians to explore viewsheds, movement, sequencing, and other factors. Using real-time interactive simulations of the Roman Forum during the mid-Republic and the early third century CE, Diane Favro and Christopher Johanson examine the visual and sequential interrelationships among audience, actors, and monuments during funeral rituals. Death in Motion: Funeral Processions in the Roman Forum presents a hypothetical reconstruction of the funeral of the Cornelii family in the early

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ASHTON, SALLY-ANN. "(C.) Riggs The Beautiful Burial in Roman Egypt. Art, Identity and Funerary Religion. Pp. xxiv + 334, ills, maps, colour pls. Oxford: Oxford University Press, 2005. Cased, £80. ISBN: 978-0-19-927665-3." Classical Review 57, no. 2 (2007): 536–37. http://dx.doi.org/10.1017/s0009840x07001321.

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Hope, Valerie M. "ROMAN TOMBS IN THE SECOND CENTURY CE - (B.E.) Borg Roman Tombs and the Art of Commemoration. Contextual Approaches to Funerary Customs in the Second Century ce. Pp. xxviii + 341, ills. Cambridge: Cambridge University Press, 2019. Cased, £90, US$120. ISBN: 978-1-108-47283-8." Classical Review 70, no. 2 (2020): 488–90. http://dx.doi.org/10.1017/s0009840x20000529.

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28

Small, Alastair. "Excavation in the Roman cemetery at Vagnari, in the territory of Gravina in Puglia, 2002." Papers of the British School at Rome 75 (November 2007): 123–229. http://dx.doi.org/10.1017/s0068246200003536.

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SCAVI NELLA NECROPOLI ROMANA A VAGNARI, NEL TERRITORIO DI GRAVINA IN PUGLIA, 2002Lo scavo del cimitero del villaggio romano di Vagnari in Apulia, iniziato nel 2002, è tuttora in corso. L'articolo propone la pubblicazione finale di diciassette inumazioni, scavate prevalentemente nel primo anno, databili nel complesso tra il I e il IV secolo d.C. Nella parte I Small discute le tipologie tombali, le pratiche funerarie, l'uso dei corredi funebri e i rituali funerari, e delinea paragoni con altre necropoli dell'Italia romana. Nella parte II Prowse analizza i resti scheletrici dal punto di vista del

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Маркелов, Андрей Юрьевич. "ИЗ ИСТОРИИ РАСКОПОК МАВЗОЛЕЯ АВГУСТА". Археология Евразийских степей, № 5 (31 жовтня 2020): 151–58. http://dx.doi.org/10.24852/2587-6112.2020.5.151.158.

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В статье рассматривается история раскопок крупнейшей римской гробницы, а именно мавзолея императора Цезаря Августа. Основное внимание уделяется результатам недавних археологических работ и тому, как они повлияли на представление о памятнике. Гробница первого римского императора в пост-античную эпоху претерпела различные трансформации и неоднократные грабежи, в результате которых сильно пострадала. Памятнику находили практическое применение вплоть до 1930-х гг. За многовековую историю мавзолей использовали как каменоломню, крепость, которую не раз разрушали, виноградник, сад, амфитеатр для корр

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Ewald, Björn Christian. "The tomb as heterotopia (Foucault's “hétérotopies”): heroization, ritual and funerary art in Roman Asia Minor - SARAH CORMACK, THE SPACE OF DEATH IN ROMAN ASIA MINOR (Wiener Forschungen zur Archäologie Band 6; Phoibos Verlag, Wien2004). Pp. 351. figs. 224. ISSN 1606-4712; ISBN 3-901232-37-0." Journal of Roman Archaeology 21 (2008): 624–34. http://dx.doi.org/10.1017/s1047759400005079.

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Emme, Burkhard. "The social dimensions of tombs of the 1st-2nd c. A.D. and changes in funerary culture - BARBARA E. BORG, ROMAN TOMBS AND THE ART OF COMMEMORATION. CONTEXTUAL APPROACHES TO FUNERARY CUSTOMS IN THE SECOND CENTURY CE (Cambridge University Press2019). Pp. xxviii + 341, figs. 94, ills. 4. ISBN 978-1-108-47283-8." Journal of Roman Archaeology 33 (2020): 661–67. http://dx.doi.org/10.1017/s1047759420000306.

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Baskins, Cristelle. "Writing the Dead: Pietro Della Valle and the Tombs of Shirazi Poets." Muqarnas Online 34, no. 1 (2017): 197–221. http://dx.doi.org/10.1163/22118993_03401p008.

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This essay explores the impact of the Shirazi poets Saʿdi and Hafiz on the famous Baroque traveler, Pietro della Valle. Hitherto unexplained features of the magnificent funeral he designed for his Syrian Christian wife, Sitti Maʿani Gioerida, in Rome (1627) can be related to the poets’ tombs he had seen in Shiraz immediately following her untimely demise. In Safavid Iran, Della Valle was impressed by the production of commemorative poetry as well as by the virtuosic calligraphy that functioned as both word and image. He approved of the funerary complexes that created a community of poets both

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Ling, Roger. "The predominance of Greek myths in Roman domestic and funerary imagery - ZAHRA NEWBY, GREEK MYTHS IN ROMAN ART AND CULTURE. IMAGERY, VALUES AND IDENTITY IN ITALY, 50 BC - AD 250 (Cambridge University Press 2016). Pp. xx + 387, figs. 114, colour pls. 15. ISBN 978-1-107-07224-4. $120." Journal of Roman Archaeology 30 (2017): 594–97. http://dx.doi.org/10.1017/s1047759400074377.

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Pearce, John. "The Beautiful Burial in Roman Egypt: Art, Identity and Funerary Religion, by Christina Riggs, 2005. Reprinted in 2008. Oxford: Oxford University Press. ISBN 978-0-19-927665-3 hardback £112 & US$199; xxiii+334 pp., 126 figs., 12 col. plates." Cambridge Archaeological Journal 20, no. 3 (2010): 468–70. http://dx.doi.org/10.1017/s0959774310000594.

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Noy, David. "Building a Roman Funeral Pyre." Antichthon 34 (November 2000): 30–45. http://dx.doi.org/10.1017/s0066477400001167.

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Until the second century A.D., the bodies of most people who died at Rome and in the western provinces of the Empire ended up on a funeral pyre, to be reduced to ashes which would be placed in a grave. The practical arrangements for this process have attracted some attention from archaeologists but virtually none from ancient historians. In this paper I shall try to combine literary and archaeological evidence to reconstruct how the pyre was prepared. I hope that this will provide a fuller background than currently exists for understanding the numerous brief references which can be found in Ro

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Sandon, Tatjana, and Luca Scalco. "MORE THAN MISTRESSES, LESS THAN WIVES: THE ROLE OF ROMAN CONCUBINAE IN LIGHT OF THEIR FUNERARY MONUMENTS." Papers of the British School at Rome 88 (May 19, 2020): 151–84. http://dx.doi.org/10.1017/s0068246220000057.

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This article focuses on the role of concubinae in the Roman world, through analysis of inscriptions and reliefs on funerary monuments involving these women and their relatives. It investigates why concubinatus was chosen in preference to legal marriage, and how the concubina was perceived as a member of her partner's family. The results bring to light how this type of quasi-marital union was an appealing option for men of social standing, and that the role of concubinae accepted by their partners was not so dissimilar to that of legal wives. The article considers funerary monuments from Roman

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Pennanen, Valerie Hutchinson. "New perspectives on Roman funerary art and customs - MARTIN GALINIER et FRANÇOIS BARATTE (edd.), ICONOGRAPHIE FUNÉRAIRE ET SOCIÉTÉ: CORPUS ANTIQUE, APPROCHES NOUVELLES? (Collection Histoire de l'art 3; Presses Universitaires de Perpignan, 2013). Pp. 271, many ills. ISSN 2261-2564; ISBN 978-2-35412-175-4. EUR 28." Journal of Roman Archaeology 29 (2016): 716–19. http://dx.doi.org/10.1017/s1047759400072640.

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Hope, Valerie. "Grants in Aid of Research: Roman cemeteries and funerary monuments." Papers of the British School at Rome 65 (November 1997): 353–54. http://dx.doi.org/10.1017/s0068246200010734.

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39

Yasin, Ann Marie. "Funerary Monuments and Collective Identity: From Roman Family to Christian Community." Art Bulletin 87, no. 3 (2005): 433–57. http://dx.doi.org/10.1080/00043079.2005.10786254.

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Ewald, Björn Christian. "Sarcophagi and senators: the social history of Roman funerary art and its limits - H. WREDE, SENATORISCHE SARKOPHAGE ROMS. DER BEITRAG DES SENATORENSTANDES ZUR RÖMISCHEN KUNST DER HOHEN UND SPÄTEN KAISERZEIT (Monumenta Artis Romanae XXIX; Verlag Philipp von Zabern, Mainz am Rhein 2001). Pp. 146, pls. 24. ISBN 3-8053-2696-3." Journal of Roman Archaeology 16 (2003): 561–71. http://dx.doi.org/10.1017/s1047759400013453.

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Emmerson, Allison L. C. "Re-examining Roman Death Pollution." Journal of Roman Studies 110 (August 24, 2020): 5–27. http://dx.doi.org/10.1017/s0075435820001227.

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AbstractThe idea that the dead were polluting — that is, that corpses posed a danger of making the living unclean, offensive both to their own communities and to the gods — has long occupied a fundamental position in Roman funerary studies. Nevertheless, what that pollution comprised, as well as how it affected living society, remain subject to debate. This article aims to clarify the issue by re-examining the evidence for Roman attitudes towards the dead. Focusing on the city of Rome itself, I conclude that we have little reason to reconstruct a fear of death pollution prior to Late Antiquity

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Wilson, Andrew, and Katia Schörle. "A baker's funerary relief from Rome." Papers of the British School at Rome 77 (November 2009): 101–23. http://dx.doi.org/10.1017/s0068246200000052.

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Questo articolo presenta un rilievo di travertino di epoca romana che mostra scene di lavorazione del pane. Il rilievo, finora inedito, è attualmente conservato nel ristorante Romolo in Trastevere a Roma. Presumibilmente esso è appartenuto ad un monumento funerario, forse situato nelle vicinanze, e potrebbe essere datato genericamente, in base al materiale e allo stile, tra la tarda età repubblicana e il periodo flavio. Da sinistra a destra mostra due uomini che consegnano sacchi di grano, un uomo che carica grano in una macina a trazione animale, tre uomini che impastano la pasta per il pane

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Corke-Webster, James. "Roman History." Greece and Rome 66, no. 2 (2019): 303–12. http://dx.doi.org/10.1017/s0017383519000111.

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As I write this, my wife and I are awaiting the imminent arrival of our first child. A natural tendency to find reassurance in research has led me to read a series of modern takes on fatherhood, which have proved of varying value. Imagine my delight, then, when Infancy and Earliest Childhood in the Roman World arrived on my desk. What better source of information? Unsurprisingly, What to Expect When You're Expecting this is not, though I have noted Soranus’ sage advice not to indulge pregnant women's cravings for charcoal or earth (Gyn. 1.15.48; 50). What Maureen Carroll's major new work does

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Halle, David. "Class and Culture in Modern America: The Vision of the Landscape in the Residences of Contemporary Americans." Prospects 14 (October 1989): 373–406. http://dx.doi.org/10.1017/s0361233300005792.

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For Every period except the modern, we look at art as it was displayed, and as it was seen by the contemporary viewer. Who would think, for example, of medieval art without thinking also of the cathedral and church in which the spectator saw the works? Who would consider the art of ancient Egypt and China apart from the funeral tombs of the aristocracy, for whose use and delight in the afterworld much of it was destined? Who would study Roman art without looking as well at the public monuments that celebrated and demonstrated political power to the populace of the city? In all of these cases w

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Hall, Jonathan M. "The archaeology of “celebrities” in the Greek and Roman worlds." Acta ad archaeologiam et artium historiam pertinentia 30 (March 20, 2019): 311–27. http://dx.doi.org/10.5617/acta.6875.

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The debate about the identification of the house of Augustus on the Palatine hill or the controversy surrounding the occupant of Tomb 2 at Vergina or the recently excavated funerary complex at Amphipolis offers more than sufficient evidence for a public fascination with important historical personalities. Yet, at the same time, disciplinary trends in archaeology have sought to emancipate the material record from historicizing narratives and to occlude or decanter the knowing subject. The archaeology of the individual has become, at best, a quaint, antiquarian pursuit and, at worst, a celebrati

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Rajala, Ulla. "PRE-COLONIAL LATIN COLONIES AND THE TRANSITION TO THE MID-REPUBLICAN PERIOD IN THE FALISCAN AREA AND SOUTH ETRURIA: ORIENTALIZING, ARCHAIC AND LATE ARCHAIC SETTLEMENT AND FUNERARY EVIDENCE FROM THE NEPI SURVEY." Papers of the British School at Rome 84 (September 20, 2016): 1–72. http://dx.doi.org/10.1017/s0068246216000015.

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This paper discusses the survey evidence from the Orientalizing and Archaic settlement and funerary sites at Nepi (ancient Nepet), one of the first Latin colonies outside Latium adiectum. The comparison of its pre-Roman, pre-colonial developments to the Roman patterns from the Nepi Survey Project and the trends from other Latin colonies in southern Etruria allows the examination of the local effects of Roman colonialism. The evidence shows that Nepi seemed to develop as an independent city state in the Orientalizing period, peaked in the Archaic period and weakened before the capture of Veii i

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GRIGOROPOULOS, DIMITRIS. "The Population of the Piraeus in the Roman Period: A Re-Assessment of the Evidence of Funerary Inscriptions." Greece and Rome 56, no. 2 (2009): 164–82. http://dx.doi.org/10.1017/s0017383509990027.

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In 87–86 BCE, the Roman army under L. Cornelius Sulla invaded Attica and, after a long siege, sacked Athens and the Piraeus. In both ancient and modern eyes, Sulla's sack has been seen as a key event, which marked not only the end of Athenian independence but also the beginning of an irreversible decline for its port, the Piraeus, in antiquity. Ancient literary testimonies in the decades following the Sullan sack portray the Piraeus as an urban wasteland, crammed with ruins but devoid of life. Strabo, writing in the Augustan age, notes that the town of his time endured, but had shrunk between

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Cooley, Alison E., and Benet Salway. "Roman Inscriptions 2006–2010." Journal of Roman Studies 102 (October 1, 2012): 172–286. http://dx.doi.org/10.1017/s0075435812001074.

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AbstractThe aim of this quinquennial survey remains the same as its predecessor, as for the most part does the format, though the team is regrettably reduced by one. With an eye to the study of the Roman world, we hope to signal the most important newly published inscriptions, significant reinterpretations of previously published material, new trends in scholarship, recent studies that draw heavily on epigraphic sources, and noteworthy developments in the various aids to understanding inscriptions (both traditional printed material and electronic resources). In the context of this journal, the

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Huemoeller, Katharine P. D. "Freedom in Marriage? Manumission for Marriage in the Roman World." Journal of Roman Studies 110 (September 16, 2020): 123–39. http://dx.doi.org/10.1017/s0075435820001379.

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AbstractThis article examines marriage as a pathway to free status for enslaved women in the early imperial Roman world, arguing that women manumitted for marriage to their former owners experienced a qualified form of freedom. Analysis of a funerary altar from early imperial Rome alongside larger bodies of legal and epigraphic evidence shows that in this transactional mode of manumission, enslaved women paid for their freedom by foregoing certain privileges, including, to varying degrees, the ability to enter and exit the marriage at will and the separation of their property from that of thei

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BIDDULPH, EDWARD. "LAST ORDERS: CHOOSING POTTERY FOR FUNERALS IN ROMAN ESSEX." Oxford Journal of Archaeology 24, no. 1 (2005): 23–45. http://dx.doi.org/10.1111/j.1468-0092.2005.00223.x.

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