-
-
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.
-
-
Mosaic with Animals
-
Mosaic depicting various animals including: six panthers, two bears, two boars, two mouflon sheep, two ostriches, one bull, one fallow deer, one bushbuck in a harness, and one addax. Between the panthers of the upper register is an inscription in two lines: MEL (line one) QVAESTURA (line two). A partial inscription is also found on the upper left portion: ...L(?)ETI . M.
Several of the animals have numbers inscribed on their flanks: N XL (bear); N XXV (ostrich); N X (mouflon sheep); N XXX (left bear); N (line one) VI (line two) (left mouflon sheep); N XV (left addax)., Dates to c. 3rd century CE. The mosaic was found in the remains of a Roman house 3000 cm east of the amphitheatre. The numbers found on the animals represent each sort of animal that participated in the munus. The mosaic likely decorated the house of the person who held the spectacle, who was a magistrate or a priest, perhaps the quaestor of the colonia Karthago, wich may be the allusion in the inscription MEL QVAESTURA (Poinssot and Quoniam (Karthago, 1952 p. 141).
-
-
Mosaic with Athlete
-
The athlete depicted in this fragment has a broad face with a wide mouth and large almond shaped brown eyes. His hair falls in a short fringe on his forehead and at the sides of his clean-shaven face, and it may have been drawn into a cirrus or knot at the nape of his neck. This hairstyle is depicted on other athletes from the same mosaic and indicated the status of a profesional athlete. His neck is very thick and shoulders and pectorals are bulky with muscle., Dates to c. early 4th century CE. This is a part of a larger mosaic that decorated the floors of the libraries in the east and west exedrae of the baths of Caracalla complex. The mosaic is divided into rectangular and square panels which depict full length athletes, or busts of athletes. A much larger fragment of this mosaic is in the collection of the Vatican Museums (Museo Gregoriano Profano).
-
-
Mosaic with Athletes
-
Two mosaics depicting the bust of male athletes. The bust of a mature athlete appears in an octagonal panel. He has a thick beard and his hair is braided and piled into a neat bun at the front of his head. His face is very expressive with large brown almond shaped eyes, a hooked nose and a broad mouth. His neck and shoulders are bulky and well-muscled. The bust of a young athlete appears in an octagonal panel. He is beardless and his hair is closely trimmed to his skull with the exception of a topknot. His rounded face has large brown heavy lidded eyes, and a rather small concave mouth, endowing him with an air of sleepiness. His neck and shoulders are bulky and well-muscled., Dates to c. mid-4th century CE.The baths were ordered by Constantine to give Aquileia monumental thermal structure suiting its status as an imperial capital. They covered an area of about two hectares, rivalling in size the Baths of Caracalla in Rome. The baths were in use through the 5th century due to refurbishing and survived even the sack by Atilla the Hun in 452. In the 6th and 7th centuries modest habitations and a sepulchral area were built in the ruins of the baths. Up to the 13th century the walls of the baths were standing, after which they began to be dismantled and the area was turned over to agricultural use. The archaeological exploration of the area was carried out in 1922-23, 1961, 1981-87 and in 2002.
The baths complex is on the model of the roman imperial baths complexes. Two large covered aula (20X30) were located north and south of the frigidarium. They were decorated with elaborate polychrome mosaics, with the north aula having scenes in rectangles and squares from marine mythology and the south aula scenes of hunting. The north and south ends of each aula terminated in a wide rectangular panel which figured four busts of athletes enclosed in squares or octagons.
-
-
Mosaic with Bear Fight
-
Mosaic depicting bears fighting in two registers. Inscription on the top register: ]OTINA. Inscription on the bottom register: A (over left bear) S[ (near right bear)., Dates to c. 4th century CE. Editors of the mosaic Poinssot and Quoniam (Karthago, 1952, 153 ff) suggest that it commemorates a munus.
-
-
Mosaic with Bear Hunt
-
Fragmentary floor mosaic depicting a bear hunt. Depicted are four hunters wearing short tunics and tall boots. Two of the hunters are identified by name: the first is 'MINVS', of which only his arm is preserved; the other is 'LVCIVS'. The hunters are driving five bears into a net, one of which is already captured, that is arranged in a semi-circle held up by trees. Missing from this fragment is the decorative border and the rest of the depiction of the hunter Minus., Dates to c. 4th century CE. Discovered in 1901, it is an enormous floor mosaic either from a bath building or a villa. The extent of the mosaic is vast- the part owned by the Getty (since 1971) is 28 feet wide. Four other fragments are in the Naples Archaeological Museum., Belis, Alexis. Roman Mosaics in the J. Paul Getty Museum. (Los Angeles: J. Paul Getty Museum, 2016), no. 2, entry by Kenneth Lapatin. Accessed November 29, 2017.http://www.getty.edu/publications/romanmosaics/catalogue/2/
The J. Paul Getty Trust. "Fragmentary Mosaic Floor with Bear Hunt." The J. Paul Getty Museum. Accessed November 29, 2017. http://www.getty.edu/art/collection/objects/6916/unknown-maker-fragmentary-mosaic-floor-with-bear-hunt-roman-4th-century-ad/
-
-
Mosaic with Charioteer Teams
-
Mosaic of four charioteers with their horses representing the different factions., This mosaic was found on the upper floor in a cubiculum. The villa is believed to have belonged to the Septimii family. The different factions depicted here are green, red, white, and blue.
-
-
Mosaic with Circus Scene
-
The mosaic represents a chariot in the circus, with spectators (heads only represented) watching, in a rather naive style with squat stylised figures. This complex scene is presented from a ‘bird’s eye view, with the spina represented running down the race track. The spina is decorated with several obelisks. The artist has made an effort to represent lions within the structure of the spina, which may be a reference to the complexity of games held in the circus, that also included venationes (animal hunts). To the right are the carceres (starting gate) with four arched openings within which are nude, running male figures, placed at awkward angles relative to the gates. Again, this may be a reference to athletic competitions included as part of games. There are four chariots racing, two each on either side of the spina. Well preserved are those above the spina, chariots of the Green and Blue factiones (factions). Various attendants, some at odd angles are also represented. Above the circus are spectators under arches, shown only as heads, or busts. Other structures are also pictured in the arena, like the temple in the top left., Dates to c. 6th century CE during the Byzantine period when figured mosaics such as this one were rarely created (Dunbabin 1978: p.92)., Diehl, C. L'Afrique byzantine. Histoire de la domination byzantine en Afrique (Paris 1896): pp. 126, 169, 236.
Dunbabin, Katherine M.D. The Mosaics of Roman North Africa: Studies in Iconography and Patronage. Oxford: Clarendon Press, 1978.
-
-
Mosaic with Circus Scene
-
The mosaic represents a chariot in the circus, with spectators (heads only represented) watching, in a rather naive style with squat stylised figures. This complex scene is presented from a ‘bird’s eye view, with the spina represented running down the race track. The spina is decorated with several obelisks. The artist has made an effort to represent lions within the structure of the spina, which may be a reference to the complexity of games held in the circus, that also included venationes (animal hunts). To the right are the carceres (starting gate) with four arched openings within which are nude, running male figures, placed at awkward angles relative to the gates. Again, this may be a reference to athletic competitions included as part of games. There are four chariots racing, two each on either side of the spina. Well preserved are those above the spina, chariots of the Green and Blue factiones (factions). Various attendants, some at odd angles are also represented. Above the circus are spectators under arches, shown only as heads, or busts. Other structures are also pictured in the arena, like the temple in the top left., Dates to c. 6th century CE during the Byzantine period when figured mosaics such as this one were rarely created (Dunbabin 1978: p.92)., Diehl, C. L'Afrique byzantine. Histoire de la domination byzantine en Afrique (Paris 1896): pp. 126, 169, 236.
Dunbabin, Katherine M.D. The Mosaics of Roman North Africa: Studies in Iconography and Patronage. Oxford: Clarendon Press, 1978.
-
-
Mosaic with Daniel in the Lions' Den
-
Mosaic of Daniel in the Lions' den. The nude orant, Daniel standing on a platform, is approached by four aggressive lions mounting ramps. The inscription below reads MEMORIA/ BLOSSI HONO/-RATUS INGENUS ACTOR / PERFECIT. Excavated in a Christian hypogaeum (mausoleum)., Late 5th to 6th century CE.
-
-
Mosaic with Horses
-
Fragmentary mosaic depicting horses. The first scene depicts variously coloured horses drinking and eating with mountains and buildings above them. The second scene consists of two medallions, each depicting two horses facing a palm tree that stands between them. Each of horse on the left is branded with SORO on its hindquarters and THI on its shoulder while the horse on the right has the mark of the stable on its hindquarters. Above each horse its name is inscribed. One medallion identifies the bridled horses as ADORANDVS and CRINITVS. The other medallion the horses wear neck ornamentation and are identified as AMOR and DOMINATOR., The house in which this mosaic was discovered has been identified as the home of a famous breeder of racehorses and dates to the end of the 2nd century CE to the beginning of the 3rd century CE (Yacoub 1995: 203). The mosaic was created to commemorate the owner's estate and his favourite and most successful horses (Dunbabin 1978: 94)., Dunbabin, Katherine M.D. The Mosaics of Roman North Afica: 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.
Yacoub, Mohamed. Splendeurs des mosaiques de Tunisie. Ministere de la Culture, de la Jeunesse et des Loisiors: 1995.
-
-
Mosaic with Horses
-
Fragmentary mosaic depicting horses. The first scene depicts variously coloured horses drinking and eating with mountains and buildings above them. The second scene consists of two medallions, each depicting two horses facing a palm tree that stands between them. Each of horse on the left is branded with SORO on its hindquarters and THI on its shoulder while the horse on the right has the mark of the stable on its hindquarters. Above each horse its name is inscribed. One medallion identifies the bridled horses as ADORANDVS and CRINITVS. The other medallion the horses wear neck ornamentation and are identified as AMOR and DOMINATOR., The house in which this mosaic was discovered has been identified as the home of a famous breeder of racehorses and dates to the end of the 2nd century CE to the beginning of the 3rd century CE (Yacoub 1995: 203). The mosaic was created to commemorate the owner's estate and his favourite and most successful horses (Dunbabin 1978: 94)., Dunbabin, Katherine M.D. The Mosaics of Roman North Afica: 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.
Yacoub, Mohamed. Splendeurs des mosaiques de Tunisie. Ministere de la Culture, de la Jeunesse et des Loisiors: 1995.
-
-
Mosaic with Horses
-
Mosaic depicting four horses, each with an attendant, on two registers. The first horse on the top register is brown wearing a colourful head dress with its attendant standing next to it; inscribed above the horse is its name, 'PVPILIVS'. The second horse on the top register is a light tan colour also wearing a head dress, standing next to its attendant; 'AMATOR' is inscribed above it. The first horse on the bottom register is black with a white triangular stable mark and wearing a red headdress with its attendant in a light grey tunic; 'CVPIDO' is inscribed here. The last horse is golden with a red headdress with its attendant also dressed in a red tunic; inscribed above the horse is the name 'AVRA'., The mosaic dates to the end of the 2nd century CE to the beginning of the 3rd century CE (Dunbabin 1978: 95). The horses are identified as circus horses and each attendant is a representation of the different factions (Dunbabin 1978: 95)., Dunbabin, Katherine M.D. The Mosaics of Roman North Africa: Studies in Iconography and Patronage. Oxford: Clarendon Press, 1978.
-
-
Mosaic with Horses
-
Mosaic depicting four horses, each with an attendant, on two registers. The first horse on the top register is brown wearing a colourful head dress with its attendant standing next to it; inscribed above the horse is its name, 'PVPILIVS'. The second horse on the top register is a light tan colour also wearing a head dress, standing next to its attendant; 'AMATOR' is inscribed above it. The first horse on the bottom register is black with a white triangular stable mark and wearing a red headdress with its attendant in a light grey tunic; 'CVPIDO' is inscribed here. The last horse is golden with a red headdress with its attendant also dressed in a red tunic; inscribed above the horse is the name 'AVRA'., The mosaic dates to the end of the 2nd century CE to the beginning of the 3rd century CE (Dunbabin 1978: 95). The horses are identified as circus horses and each attendant is a representation of the different factions (Dunbabin 1978: 95)., Dunbabin, Katherine M.D. The Mosaics of Roman North Africa: Studies in Iconography and Patronage. Oxford: Clarendon Press, 1978.
-
-
Mosaic with Lion
-
Mosaic depicting a larger than life male African lion with sharp claws and jaw open, showing his teeth., Blanchard-Lemée, M. et al. Mosaics of Roman Africa: Floor Mosaics from Tunisia. London: British Museum Press, 1996.
-
-
Mosaic with Lion
-
Mosaic depicting a larger than life male African lion with sharp claws and jaw open, showing his teeth., Blanchard-Lemée, M. et al. Mosaics of Roman Africa: Floor Mosaics from Tunisia. London: British Museum Press, 1996.
-
-
Mosaic with Retiarius and Secutor
-
Mosaic emblema in two registers depicting combat between two gladiators, a Retiarius named Kalendio and a Secutor named Astyanax with referees looking on. Inscriptions reads 'ASTYANAX VICIT' and 'KALENDIO O (line slashed through)' on the top register above two figures, and the bottom register shows 'ASTYANAX' and 'KALENDIO O (line slashed through)' above the same respective figures., Dates to 4th. century CE. The inscriptions name each of the gladiators, showing Astyanax as the winner, indicated by 'VICIT' (won) and Kalendio as being killed, which is indicated by the O with a line through it, which is the abbreviated version of Obiit (death)., Dunbabin, Katherine M. D. Theater and Spectacle in the Art of the Roman Empire. New York: Cornell University, 2016.
Raddato, Carole. "Gladiator mosaic." Ancient History Encyclopedia. Accessed May 10, 2017. http://www.ancient.eu/image/3273/