Roman Antiquity

Cet article focalisé sur la richesse céréalière de la Numidie- au temps de Massinissa et Jugurtha, se propose de présenter les témoignages et attestations de cette richesse céréalière par le biais de la documentation littéraire. En outre, des documents épigraphiques reflètent la richesse économique de cette contrée. A travers l’analyse de cette documentation, notre étude cherche à déterminer les zones de culture céréalière et l’extension du royaume de Massinissa et Jugurtha ainsi que les principales dynamiques commerciales entre la Numidie et les autres pays de la Méditerranée.

disegni di antichità romane nella collezione di alfonso rossetti »1551 ali 17 magio in roma«. disegni di antichità romane nella collezione di alfonso rossetti. francesca mattei Nel Fondo famigliare antico dell'Archivio Storico Comunale di Ferrara, all'interno del fascicolo dedicato ai Rossetti, sono conservati alcuni disegni, rimasti finora inediti. 1 Si tratta di cinque fogli sciolti, uno membranaceo e quattro cartacei. La cartellina che li contiene reca la scritta »Deli mar[chese] Alfonso Rossetti« eseguita a inchiostro; sul foglio incollato sotto di essa si legge: »Disegni appartenuti al marchese Alfonso Rossetti. Vi è il disegno e lo spaccato della Colonna Traiana colla data 1551, su carta pergamena. / Altri 4 disegni in carta un po' guasti dall'umidità«. La sommaria annotazione, che probabilmente risale all'epoca del versamento dei materiali nell'archivio ferrarese, rende noti alcuni dati: dà conto del nome del proprietario dei disegni, il teologo e matematico ferrarese Alfonso Rossetti, vissuto nel XVII secolo; riporta la data 1551, ripresa dalla pergamena che ospita la restituzione della colonna Traiana, unico grafico menzionato nell'annotazione stessa. Gli altri fogli -su cui la descrizione tace -sono dedicati al Pantheon.

يناقش هذا البحث عدة نقاط، تبدأ بخلفية تاريخية موجزة عن علاقة روما بأثيوبيا في العصر الإمبراطوري، ثم أثيوبيا في بعض الأساطير الرومانية، والأوصاف العرقية للأثيوبيين، كما يتناول العبيد الأثيوبيين في روما، وهذا من خلال نصوص أدبية لاتينية مع مقارنتها بمصادر يونانية ولاتينية أخرى كلما دعت الضرورة

Gli studi sulla scrittura latina in età romana nei 50 anni seguiti alla  la pubblicazione Paléographie romaine di Jean Mallon. I meriti di quel libro vanno ben al di là del contributo dato dal suo autore all’interpretazione di un particolare problema di storia della scrittura fino a quel momento neppure così centrale negli interessi e negli studi paleografici: il problema che era tradizionalmente indicato come passaggio dalla maiuscola alla minuscola e che Mallon ha interpretato come «solution  de continuité» tra l’«écriture commune ancienne» e la «nouvelle écriture commune». Anzi, a tanti anni di distanza si può dire che se riguardo a quel problema la soluzione e gli argomenti di Mallon sembrano aver perso gran parte della loro validità, rimane invece in piedi e, se possibile, ha assunto sempre maggior importanza, ben oltre i limiti dell’età romana (e ben oltre i limiti della scrittura latina), l’impalcatura teorica e metodologica che di quella soluzione e di quegli argomenti costituiva l’indispensabile premessa. Se oggi disponiamo di alcuni principi e strumenti critici per l’analisi dei fatti grafici di qualsiasi epoca (si pensi solo alle nozioni di ductus, angolo di scrittura, lettere diacritiche) lo si deve al fatto che proprio per l’età più lontana e avara di testimonianze la paleografia ha saputo ha saputo interrogarsi sui propri limiti, ha saputo sbarazzarsi di ingombranti ma rassicuranti luoghi comuni, ha saputo darsi un coerente metodo di lavoro e compiere forse il suo maggior sforzo di rinnovamento.

Este trabalho visa analisar o período em que Valentiniano I administrou o Império
Romano do Ocidente (364 – 375 d.C.) através de textos e moedas do período, além de
contribuir para os estudos da Antiguidade Tardia e os elementos pertencentes ao período tais
como, a política, a sociedade, a economia e a cultura. Aspectos da sociedade romana que
sofrem várias modificações e transformações decorrentes da ascensão do cristianismo e da
figura dos chamados povos bárbaros no que refere às invasões ou na integração destes na
sociedade romana influenciando também na cultura.
Palavras – chave: Antiguidade Tardia, numismática , Império Romano, Valentiniano I.

This article reviews the current state of affairs regarding our knowledge on eating habits and dietary proportions in the Roman world. The narrative is centred on the main components of the ancient diet: cereals, wine, olive oil, meat, fish, vegetables, fruits and pulses. Focal points in the discussion are food types and calories. The author integrates literature, archaeology and natural sciences, and devotes particular
attention to the possibilities and constraints of our datasets. What emerges is a complicated picture in which it remains difficult to answer basic questions and to identify general patterns. By offering a series of thinking tools, however, the article provides a new framework for researchers to increase our understanding of the classical diet in the future.

Talk given at the University of PAU (FRANCE) during a conference "La vision de l'autre dans l'Antiquité" in March 2009. Acts of the conference published at the Presse Universitaire de Pau - Antiquité méditerranéenne : à la rencontre de « l’Autre ».Perceptions et représentations de l’étranger dans les littératures antiques. January 2010.

During the first and second centuries A.D., Roman cursive developed a system of ligatures between letters tha was to remain virtually unchallenged until a new cursive structure came about in the twelfth and thirteenth centuries. This remarkably coherent system was based on top-down connections, in the form of angular joints between the last, horizontal stroke of one letter to the first, vertical and downward stroke of the next; but from the outset different combinations, although sporadic, even exceptional, are evidence that other solutions were technically possible, namely bottom-up connections, particularly between vertcal strokes. Why, then, was a broad range of artifices developed to enable the use of top-down, angular connections even with letters whose 'natural' forms were incompatible, instead of resorting more widely to upstrokes? Mainly because this type of ligature was quite similar to the manner in which scribes tended to arrange strokes constituting letters: the ligatures were consistent with a certain organisation of handwriting, which they in turn conditioned. This is all the more apparent in the fourth century when the structure of cursive letter forms and ligatures both developed in the same direction: although bottom-up connections remained relatively scarce and specific to certain variant letter forms (quite different in nature from medieval cursive ligatures), they henceforth became part of the system.

Anmeldelse HARALD VOETMANN, Sulpicia -En romersk digter. Oversat og kommenteret af Harald Voetmann, Gyldendal 2016, 120 sider, kr. 199,95. Da Ciceros eneste datter Tullia døde i 45 f.v.t., blev han ramt af dyb sorg. Han modtog mange sympatierklaeringer fra sine venner, men fandt dog ikke nogen stor forståelse for sin personlige smerte. I et kondolencebrev blev han spurgt, hvordan et lille kvindemenneskes liv dog kunne ryste ham så meget -var hendes død virkelig grunden til hans sorg, eller havde Cicero under påskud af datterens død fundet et daekke, så han kunne begraede Julius Caesars fremskridende afmontering af Republikken? Kvinder blev ikke regnet for noget saerligt i Romerriget, og kilden til Ciceros sorg måtte vel derfor findes andensteds? Manden bag de trøstende ord og den store forbløffelse var den romerske jurist Servius Sulpicius Rufus, og med ovenstående forundring in mente er det interessant, at han (muligvis) var fader til den eneste kvindelige poet fra Romerriget, der er bevaret hele digte af. Disse digte -eller kaerlighedselegier som der egentlig er tale om -skrevet af hans datter Sulpicia, foreligger nu i en interessant ny dansk oversaettelse med kommentarer fra Harald Voetmann.

Prima traccia per un catalogo completo delle incisioni di Sebastiano di Re da Chioggia (de Regibus Clodiensis) (attivo a Roma 1557-1563), con la proposta di identificare l'incisore con l'autore di un poemetto "Le lagrime d'amore" stampato a Venezia nel 1552. Le sue stampe riproducono opere di Michelangelo, Raffaello, Marcello Venusti, altre afferiscono agli ambiti delle antichità romane, delle stampe popolari e della cartografia.

The Sava River in antiquity was not a river that divided, rather, it made connections. It was used in various ways: as a waterway and as a guidepost – a link between the Eastern and Western parts of the Roman Empire. Sources that have a spiritual characteristic provide an insight into the Roman pagan way of life in Late Antiquity and into the beginnings of Christianity of that area. The Sava River was above all worshipped as a personification of divinity by the inhabitants of the Late Antiquity and only secondarily as a means essential for human existence. Various findings of altars mentioning the god Savus (alone or combined with other divinities) show images of pagan cults. Although sources of spiritual culture do not indicate it directly, the inhabitants of the surrounding area used the Sava River for shipping, they crossed it by ferries and bridges, and there were docks alongside it. Everyday objects found in the stream bed portray the everyday life at the river. The Sava River was a gathering place for the production of useful objects, for handicrafts, trade and rituals or simply a place to socialize. Object with cult purposes thrown into the river (sacrifices to the divinity, inscriptions with pleas and expressions of gratitude to divinities) provide evidence of the Sava River as a place for the purification of body and soul.
Abundant material sources denote a change in the attitude to the Sava River with the appearance of Christianity. The pagan inhabitants had more familiar, subjective attitude to the river, while in Late Antiquity, dominated by Christianity, it became more general and objective.

2021, “Τhe work of magic art”: History, uses and meanings of the Incantadas monuments of Thessaloniki. Conference proceedings [papers in Greek and English]

The Incantadas, the sculptures of a Roman colonnade of Thessaloniki that were detached in 1864 by the French paleographer Emmanuel Miller and ended up in the Louvre, are a fascinating story with which various narratives about the city are associated. This “work of magic art”, as the travelers Stuart and Revett described the monument capturing the beliefs of the inhabitants of Thessaloniki in the 18th century, have today returned – literally and metaphorically– to the forefront, after a long period of oblivion. The placement of the copies of the Incantadas under the portico of the Archaeological Museum of Thessaloniki in September 2017 is the culmination of a long process of "rediscovery" of the monument through a gradually intensifying public discourse on the cultural memory and identity of the city, the organization of its public space but also the management of its ancient material remains and their representations.
The research on the history, the adventures, the interpretation, the uses and the multiple meanings of this sculptural ensemble was the subject of a two-day conference held in June 2018 at the Archaeological Museum of Thessaloniki (AMTH) and the Museum of the Ancient Agora, organized by the AMTH, the Ephorate of Antiquities of the City of Thessaloniki and the University of Ioannina through the Laboratory of Art History of the Department of Fine Arts and Art Sciences. The aim of the conference as well as this publication that includes most of the then contributions – enriched in some cases with the results of recent research, is to analyze the monument through various perspectives, thus making the history of the Incantadas an opportunity to problematize the management and perception and of the archaeological heritage of Thessaloniki from the Roman times until today.
The volume, curated by Esther Solomon and Styliana Galiniki, has just been released by the publications of the Archaeological Museum of Thessalonik. It critically connects the materiality of the ruins with their visual and textual representations (drawings, paintings, engravings, copies of the pillars, press releases, scientific publications, museum displays, works of art, literary works), while intertwining the historical with the social and cultural meanings  of the monument. It moves from the past (ancient, Ottoman, modern) to the present and vice versa as well as from archeology, history, architecture, art history and literature, to social sciences, museology, cultural management and cultural studies bringing together people, ideas and methodologies in a stimulating dialogue about the Incantadas monument.

Volume editors: Esther Solomon, Assistant Professor of Museology at the University of Ioannina, and Styliana Galiniki, Archaeologist, PhD in Architecture, Head of Stone Collections, Murals and Mosaics, Archaeological Museum of Thessaloniki
With the participation of: P. Adam-Veleni, G. Veleni, F. Bianchi, E. Gala-Georgila, G. Gotsi, A. Grigoriou, S. Descamps, P. El Gedi, E. Eldem, G. Epaminondas, M. Kagiadaki, A. Lioutas, A. Mentzos, K. Pozrikidis, P. Poulos, M. Sève, T. Stefanidou-Tiveriou, S. Tambaki, V. Hastaoglou, M. Vitti, P. Weber, and the editors E. Solomon and S. Galiniki.
Graphic design: Melina Hatzi.
Published by the Archaeological Museum of Thessaloniki with the support of the Association of Friends of the Archaeological Museum of Thessaloniki, TIF-HELEXPO and the University of Ioannina.

Peu etudie par le passe, le mobilier en plomb romain decouvert dans l’estuaire de la Seine possede un vaste potentiel de recherche. Les problematiques liees a la comprehension des pratiques artisanales, de la circulation du metal dans la region et des pratiques funeraires caletes et veliocasses touchent ici des collections archeologiques anciennes et recentes. Une approche pluridisciplinaire melant archeologie et archeometallurgie est susceptible de repondre a ces questions, qui s’inscrivent dans une dynamique de recherche commune a plusieurs laboratoires francais et allemands. Coordination du PCR : Malina Robert (Universite de Nantes & Caux Seine Agglo).

Archival documents have shown Spain's attempts at Christianizing the Aztecs and illustrated Spanish justifications for the destruction of traditional Aztec beliefs and gender roles. Analyzing these documents, it becomes apparent that female roles were transformed along the lines of Spanish and Christian ideologies of a proper woman. An examination of the initial nature of Aztec-Spanish relations, with a specific emphasis on the religiosity and mentalities of both the conquered and the conquerors, provides a direct correlation between transformation of native women's social status and initial contacts with European patriarchal customs. Focusing on the reciprocating system of duality existing between men and women in Aztec life and religion, Spain's persistence at adopting a patriarchal structure for all indigenous peoples, the andocentric mentality of Christianity, and the resilience of native women's roles in the post-Conquest era, this thesis illustrates the various factors contributing to the transformation and preservation of Aztec female roles.