Kalinowski, Angela

: Lekythos with Athlete; Red-figure lekythos depicting a young nude male athlete holding his clothes in one hand and a strigil in the other. The male stands next to a clothed seated female who faces him., Dates to c. 375-350 BCE. The female is presumed to be a mourner (British Museum, 2014)., British Museum. "Lekythos". The British Museum Online. Accessed May 19, 2017. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=394331&partId=1&searchText=greek

: Lekythos with Athletes; Black-figure terracotta lekythos depicting five nude male athletes exercising. The athletes hold various equipment, including a javelin, a discus, and jumping weights., Dates to c. late 6th century BCE and is attributed to a painter of the Michigan class., Metropolitan Museum of Art. "Terracotta lekythos (oil flask)." The Metropolitan Museum of Art Online. Accessed November 22, 2017. https://www.metmuseum.org/art/collection/search/247229

: Lekythos with Athletes; Black-figure lekythos depicting two nude athletes, one holding spears and halteres while the other holds a discus. A paidotribe stands on the other side., Dates to c. 500-480 BCE., British Museum. “lekythos.” The British Museum Collections Online. Accessed November 22, 2017. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=398869&partId=1&searchText=greek

: Lekythos with Athletes; Black-figure lekythos depicting two nude athletes, one holding spears and halteres while the other holds a discus. A paidotribe stands on the other side., Dates to c. 500-480 BCE., British Museum. “lekythos.” The British Museum Collections Online. Accessed November 22, 2017. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=398869&partId=1&searchText=greek

: Ludus Magnus at Rome; Remains of the Ludus Magnus., The Ludus Magnus was the largest gladiatorial training school in Rome. It was originally built by Domitian between 81-96 CE and later rebuilt by Trajan between 98-117 CE.

: Ludus Magnus at Rome; Remains of the Ludus Magnus., The Ludus Magnus was the largest gladiatorial training school in Rome. It was originally built by Domitian between 81-96 CE and later rebuilt by Trajan between 98-117 CE.

: Ludus at Pompeii; Remains of the ludus, gladiatorial training school, at Pompeii. Features a large rectangular courtyard surrounded by colonnaded walkway that leads to individual cells., Converted into a gladiatorial training school from a quadriporticus after 62 CE, it was destroyed during the eruption of Vesuvius on August 24th 79 CE (Bomgardner 2001: p.40, 58). Graffiti, wall paintings, and storage of gladiatorial equipment were all found indicating the building's use as a ludus (Bomgardner 2001: p.54)., Bomgardner, David Lee. The Story of the Roman Amphitheatre. London: Routledge, 2001. At University of Saskatchewan Library Online. http://lib.myilibrary.com.cyber.usask.ca/Open.aspx?id=32651

: Ludus at Pompeii; Remains of the ludus, gladiatorial training school, at Pompeii. Features a large rectangular courtyard surrounded by colonnaded walkway that leads to individual cells., Converted into a gladiatorial training school from a quadriporticus after 62 CE, it was destroyed during the eruption of Vesuvius on August 24th 79 CE (Bomgardner 2001: p.40, 58). Graffiti, wall paintings, and storage of gladiatorial equipment were all found indicating the building's use as a ludus (Bomgardner 2001: p.54)., Bomgardner, David Lee. The Story of the Roman Amphitheatre. London: Routledge, 2001. At University of Saskatchewan Library Online. http://lib.myilibrary.com.cyber.usask.ca/Open.aspx?id=32651

: Mosaic of the Bulls and the Banquet; Mosaic depicting a banquet scene with bulls. Five male figures sit along a curved dining couch in the shape of an arena wall (stibadium)with a single goblet on it. Above each of these figures is an associated inscription. [N] OS NVDI [F] IEMVS; BIBERE VENIMVS; IA(M) MVLTV(V) LOQVIMINI; AVOCEMVR; NOS TRES TENEMVS (Dunbabin 1978 p.78). These inscriptions translate to: "We shall strip off"; "We have come to drink"; "You are talking too much"; Let us enjoy ourselves"; "We hold three" (Dunbabin 2016, p.205). Each of these figures also have a distinctive attribution: the first man on the left holds an upraised cordiform leaf and has another decorated on the sleeve of his right arm; the next two men both wear crowns, one with three spikes topped with an 'S", the other with five spikes topped by a fish respectively; the last two men on the right each hold a an object, the former a stalk of millet and the latter a staff topped with a crescent moon (Dunbabin 1978: p.78). In front of the table two attendants stand on either side of a large mixing-bowl and a small table with two jugs on it. The attendant on the left holds his finger to his mouth and the one on the right offers a cup to the men sitting around the table. Between the attendants is the inscription: SILENTIV(M) DORMIANT TAVRI, which translates to "Silence, let the bulls sleep" (Dunbabin 2016: p.205). In front of the attendants are five zebu bulls lying asleep. Each of the bulls have a mark on its hindquarters as identified by Dunbabin: a cordiform leaf, a fish, a millet-stalk a heavy-armed gladiator, and a mark that appears to be a sistrum (Dunbabin 1978: p.78)., Dates to c. 3rd century CE. This appears to be a scene where venatores from different factions (sodalites) participate in a banquet with a depiction of the bulls that they will be fighting the next day (Dunbabin 1978: 79). It is unlikely that the banquet took place at the physical location of the arena (Dunbabin 2016: p.205)., Blazquez Martinez, J.M, G. López Monteagudo, M.L. Neira Jimenez, M.P. San Nicola Pedraz, Pavimentos Africanos con espectaulos de toros. Estudio comparativo a proposito del mosaico de Silin, Antiquités Africaines, 26.1 1990, 155-204. Dunbabin, Katherine M.D. The Mosaics of Roman North Africa: Studies in Iconography and Patronage. Oxford: Clarendon Press, 1978. Dunbabin, Katherine M. D. Theater and Spectacle in the Art of the Roman Empire. New York: Cornell University, 2016.

: Mosaic of the Bulls and the Banquet; Mosaic depicting a banquet scene with bulls. Five male figures sit along a curved dining couch in the shape of an arena wall (stibadium)with a single goblet on it. Above each of these figures is an associated inscription. [N] OS NVDI [F] IEMVS; BIBERE VENIMVS; IA(M) MVLTV(V) LOQVIMINI; AVOCEMVR; NOS TRES TENEMVS (Dunbabin 1978 p.78). These inscriptions translate to: "We shall strip off"; "We have come to drink"; "You are talking too much"; Let us enjoy ourselves"; "We hold three" (Dunbabin 2016, p.205). Each of these figures also have a distinctive attribution: the first man on the left holds an upraised cordiform leaf and has another decorated on the sleeve of his right arm; the next two men both wear crowns, one with three spikes topped with an 'S", the other with five spikes topped by a fish respectively; the last two men on the right each hold a an object, the former a stalk of millet and the latter a staff topped with a crescent moon (Dunbabin 1978: p.78). In front of the table two attendants stand on either side of a large mixing-bowl and a small table with two jugs on it. The attendant on the left holds his finger to his mouth and the one on the right offers a cup to the men sitting around the table. Between the attendants is the inscription: SILENTIV(M) DORMIANT TAVRI, which translates to "Silence, let the bulls sleep" (Dunbabin 2016: p.205). In front of the attendants are five zebu bulls lying asleep. Each of the bulls have a mark on its hindquarters as identified by Dunbabin: a cordiform leaf, a fish, a millet-stalk a heavy-armed gladiator, and a mark that appears to be a sistrum (Dunbabin 1978: p.78)., Dates to c. 3rd century CE. This appears to be a scene where venatores from different factions (sodalites) participate in a banquet with a depiction of the bulls that they will be fighting the next day (Dunbabin 1978: 79). It is unlikely that the banquet took place at the physical location of the arena (Dunbabin 2016: p.205)., Blazquez Martinez, J.M, G. López Monteagudo, M.L. Neira Jimenez, M.P. San Nicola Pedraz, Pavimentos Africanos con espectaulos de toros. Estudio comparativo a proposito del mosaico de Silin, Antiquités Africaines, 26.1 1990, 155-204. Dunbabin, Katherine M.D. The Mosaics of Roman North Africa: Studies in Iconography and Patronage. Oxford: Clarendon Press, 1978. Dunbabin, Katherine M. D. Theater and Spectacle in the Art of the Roman Empire. New York: Cornell University, 2016.

: Mosaic of the Charioteer Eros; The charioteer, Eros, is driving a quadriga (four horse chariot) with only three horses being visible. Eros carries a whip and laurel crown in his right hand and a palm branch of victory in his left, and is dressed in green, the colour of his factio (faction). Behind him, the starting gates (carceres) of the circus are visible. The horses are characterized by a noble bearing, and vegetal symbols on and near their heads. Two inscriptions are found on this mosaic. To the right of the charioteer reads 'EROS OMNIA PER TE' meaning 'Eros everything for you!' and above two of the horses are their names 'AMANDUS' and 'FRUNITUS'., Dates to c. 2nd half of the 4th century CE. The inscriptions found on this mosaic celebrates the victorious charioteer and his horses. Scholars Poinssot and Merlin, and Dunbabin have variously interpreted the vegetal symbols on this mosaic., Dunbabin, Katherine M.D. The Mosaics of Roman North Africa: Studies in Iconography and Patronage. Oxford: Clarendon Press, 1978. Lassus, J. BAC 1961-2, pp.42-3; id., 'La Vénus de Khenchela au Musée de Constantine', Rec. Const. lxxi, 1969-71, pp.45-55. Merlin, A. and L. Poinssot. 'Factions du cirque et Saisons sur des mosaïques de Tunisie', Mélanges Charles Picard (=Rev. Arch. 1949), ii, p. 732-8.

: Mosaic of the Charioteer Eros; The charioteer, Eros, is driving a quadriga (four horse chariot) with only three horses being visible. Eros carries a whip and laurel crown in his right hand and a palm branch of victory in his left, and is dressed in green, the colour of his factio (faction). Behind him, the starting gates (carceres) of the circus are visible. The horses are characterized by a noble bearing, and vegetal symbols on and near their heads. Two inscriptions are found on this mosaic. To the right of the charioteer reads 'EROS OMNIA PER TE' meaning 'Eros everything for you!' and above two of the horses are their names 'AMANDUS' and 'FRUNITUS'., Dates to c. 2nd half of the 4th century CE. The inscriptions found on this mosaic celebrates the victorious charioteer and his horses. Scholars Poinssot and Merlin, and Dunbabin have variously interpreted the vegetal symbols on this mosaic., Dunbabin, Katherine M.D. The Mosaics of Roman North Africa: Studies in Iconography and Patronage. Oxford: Clarendon Press, 1978. Lassus, J. BAC 1961-2, pp.42-3; id., 'La Vénus de Khenchela au Musée de Constantine', Rec. Const. lxxi, 1969-71, pp.45-55. Merlin, A. and L. Poinssot. 'Factions du cirque et Saisons sur des mosaïques de Tunisie', Mélanges Charles Picard (=Rev. Arch. 1949), ii, p. 732-8.

: Mosaic with Amazon Hunt; Mosaic depicting armed women or amazons on horses hunting various beasts., Dates to c. late 4th-early 5th century CE.

: Mosaic with Amazon Trick Riders; Partial mosaic depicting two female Amazons with their horses. The Amazons are both preforming tricks with their individual horses. Various objects are depicted in the background., Dates to c. 3rd century CE. This mosaic was found in the corridor between the oecus and reception room of the house of the Ostriches.

: Mosaic with Animal Hunt; Fragmentary mosaic depicting an animal hunt. The beasts are portrayed mostly enclosed in a large fenced area of nets strung up. There are three entrances shown at the bottom left, centre, and right of the mosaic through which men in short tunics are entering with eager dogs. The beasts are grouped according to species, with twenty ostriches in the lower register and thirty fallow deer in the upper, which are running in all directions. The ground is covered in what has been identified as rose petals (Poinssot and Quonian (Karthago, 1952))., Dates to c. 2nd century CE at the end of the reign of Marcus Aurelius. This mosaic may be depicting a scene in the amphitheatre, and that the net has been placed to create a kind of park for the vention and centre the action (Poinssot and Quoniam, p. 164) They also suggest that the sparsio of rose petals has just occured and the excited hounds are being introduced into the area and are about the pursue their prey, the ostriches and fallow deer. Sicca Veneria is modern Le Kef, Tunisia. Scholars suggest that the full mosaic would be twice its current size.

: Mosaic with Animal Hunt; Fragmentary mosaic consisting of two registers. The upper register shows a mounted hunter galloping left, an assistant in the short tunic on foot and a rampant hunting dog. Inscription above the hunter identifies him as NARCISSVS. The lower register shows a horse galloping right, with most of the mounted rider missing. A fragmentary inscription associated with the hunter reads ]AXSIVNIOR. In front of the rider are pictured a fragmentary large hunting dog grasping a rabbit in its jaws. The dog is identifies SAGITTA PERNICIES LEPORUM ("Arrow peril of the hares")., Dates to c. 4th century CE. The popularity of hunting scenes within houses was due to the desire of the patrons to showcase their favourite pastimes and display their wealth (Dunbabin 1978: p.48-50)., Dunbabin, Katherine M. D. The Mosaics of North Africa: Studies in Iconography and Patronage. Oxford: Clarendon Press, 1978.

: Mosaic with Animal Hunt; Fragmentary mosaic consisting of two registers. The upper register shows a mounted hunter galloping left, an assistant in the short tunic on foot and a rampant hunting dog. Inscription above the hunter identifies him as NARCISSVS. The lower register shows a horse galloping right, with most of the mounted rider missing. A fragmentary inscription associated with the hunter reads ]AXSIVNIOR. In front of the rider are pictured a fragmentary large hunting dog grasping a rabbit in its jaws. The dog is identifies SAGITTA PERNICIES LEPORUM ("Arrow peril of the hares")., Dates to c. 4th century CE. The popularity of hunting scenes within houses was due to the desire of the patrons to showcase their favourite pastimes and display their wealth (Dunbabin 1978: p.48-50)., Dunbabin, Katherine M. D. The Mosaics of North Africa: Studies in Iconography and Patronage. Oxford: Clarendon Press, 1978.

: Mosaic with Animals; Mosaic with four animals depicted in individual sections., Dates to c. 3rd century CE.

: Mosaic with Animals; Mosaic with four animals depicted in individual sections., Dates to c. 3rd century CE.

: Mosaic with Animals; Mosaic depicting twenty-one various animal protomes in round medallions. These include five bulls (four of which may be zebus), two boars, two bears, two panthers, two ostriches, a lion, a lioness, a tiger, a horse, a deer, an oryx, a ram, and a goat., Mosaic depicts the various animals known to appear in the arena. It was found in the tepidarium of the baths. Dates to c. 4th century CE.