Kalinowski, Angela

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/
Mosaic with Tiger Skin
Partial mosaic depicting a tiger skin., Dates to c. 3rd century CE., Yacoub, Mohamed. Stone Paintings: The mosaics of the Bardo Museum. Tunisia, Sousse: Contraste Edition, 2013, p. 52.
Mosaic with Tiger Skin
Partial mosaic depicting a tiger skin., Dates to c. 3rd century CE., Yacoub, Mohamed. Stone Paintings: The mosaics of the Bardo Museum. Tunisia, Sousse: Contraste Edition, 2013, p. 52.
Mosaic with Venatio
Fragmentary mosaic depicts a venatio with the venator Bonifatius, identified by the inscription as BONIFA, as well as two bears CRUDELIS and OMICIDA., Dates to the Constitinian period, c. 4th century CE (Poinssot and Quniam (Karthago, 1953 p.144)).
Mosaic with Venatio
Partial mosaic depicting a male venator standing between two dying bears with his spear lying on the ground. The venator wears a leather sleeve on his left arm and holds a mappa in his right hand. The venator is identified as Neoterius by an inscription found by his leg reading 'NEOTERIVS OCCIDIT'., Dates to c. mid-3rd century CE.
Mosaic with Venatio
Partial mosaic of an amphitheatre scene with the figures arranged in an elliptical manner all facing outwards. Male figures dressed in various clothing are trying to capture various animals, such as bulls, panthers, and boars, with ropes, lassos, and even their bare hands. Some of the figures lay injured and bleeding on the ground., The mosaic dates to the end of the 3rd century CE and is one of the oldest known representations of hunting shows in Africa (Yacoub 1995: 278). This mosaic depicts the amphitheatre beast shows where the goal was not to kill the animals but to capture them (Yacoub 1995: 278)., Yacoub, Mohamed. Splendeurs des mosaiques de Tunisie. Ministere de la Culture, de la Jeunesse et des Loisiors: 1995.
Mosaic with Venatio
Partial mosaic of an amphitheatre scene with the figures arranged in an elliptical manner all facing outwards. Male figures dressed in various clothing are trying to capture various animals, such as bulls, panthers, and boars, with ropes, lassos, and even their bare hands. Some of the figures lay injured and bleeding on the ground., The mosaic dates to the end of the 3rd century CE and is one of the oldest known representations of hunting shows in Africa (Yacoub 1995: 278). This mosaic depicts the amphitheatre beast shows where the goal was not to kill the animals but to capture them (Yacoub 1995: 278)., Yacoub, Mohamed. Splendeurs des mosaiques de Tunisie. Ministere de la Culture, de la Jeunesse et des Loisiors: 1995.
Mosaic with Venator and Lions
The mosaic is fragmentary. The surviving portion shows a venator spearing a lion; to the left the forepaws of another lion are visible. Spears are placed above and below this scene; above the upper spear are the beginnings of what appears to be another scene. The scene is placed in the amphitheatre which in indicated by the rectangular and square panels that surround the scene. In the rectangle panels above are spectators. Some of the square panels represent the variegated marble panel that lined the podium wall of the amphitheatre. In others (right and below) small figures carrying large cloths emerge from doors into the arena. These figures may be other venators, or amphitheatre attendants whose job it was to scare the animals into action. There is also a close up of a venator/amphitheatre attendant emerging from a door into the arena. He wears a belted tunic that falls above the knee and high boot-like footwear. His tunic is not unlike that of the venator pictured in the main scene except that he has no chest guard. The door from which he emerges is painted yellow and is decorated with what may be metal bosses., Dates to c. 3rd century CE. This mosaic represents the munus that was given to the public by the owner of the house, which is indicated by the representation of the spectators (Dunbabin 1978: p.70)., Dunbabin, Katherine M.D. The Mosaics of Roman North Africa: Studies in Iconography and Patronage. Oxford: Clarendon Press, 1978. Picard, G.-Ch., BAC (1943-5), 123-6. Cf. K.M.D. Dunbabin (1978), 69-70 and Plate no. 55.
Mosaic with Venator and Lions
The mosaic is fragmentary. The surviving portion shows a venator spearing a lion; to the left the forepaws of another lion are visible. Spears are placed above and below this scene; above the upper spear are the beginnings of what appears to be another scene. The scene is placed in the amphitheatre which in indicated by the rectangular and square panels that surround the scene. In the rectangle panels above are spectators. Some of the square panels represent the variegated marble panel that lined the podium wall of the amphitheatre. In others (right and below) small figures carrying large cloths emerge from doors into the arena. These figures may be other venators, or amphitheatre attendants whose job it was to scare the animals into action. There is also a close up of a venator/amphitheatre attendant emerging from a door into the arena. He wears a belted tunic that falls above the knee and high boot-like footwear. His tunic is not unlike that of the venator pictured in the main scene except that he has no chest guard. The door from which he emerges is painted yellow and is decorated with what may be metal bosses., Dates to c. 3rd century CE. This mosaic represents the munus that was given to the public by the owner of the house, which is indicated by the representation of the spectators (Dunbabin 1978: p.70)., Dunbabin, Katherine M.D. The Mosaics of Roman North Africa: Studies in Iconography and Patronage. Oxford: Clarendon Press, 1978. Picard, G.-Ch., BAC (1943-5), 123-6. Cf. K.M.D. Dunbabin (1978), 69-70 and Plate no. 55.
Mosaic with Venatores
T-shaped mosaic. Depicted along the top portion of the vertical section are four male figures, each with unique features and clothing. One has long blond hair wearing a short tunic with a small animal pelt attached to the front holding a curved blade above his head. The next has short curly brown hair and wears a red long sleeved short tunic and is in the motion of unsheathing his sword. The next figure has medium length curly blond hair and wears a short sleeved short tunic with the image of a lion's head on the front; he also wears some type of foot wear and is holding a spear. The last figure has medium length curly black hair and wears a long sleeved longer tunic that is yellow with two red vertical stripes; he holds a sword in one hand and the sheath in the other. Lying at all four figures feet are various other weapons. Below the human figures are various types of animals running in all directions. These depictions continue down the vertical length of the mosaic and spread out into the horizontal portion. The animals depicted here are antelopes, addaxes, deer, wild horses, and ostriches., Mosaic dates to the middle of the 3rd century CE and was originally found in the House of the Ostriches in the city of Sousse (Yacoub 1995: 278; Dunbabin 1978: 74). The depictions of the uniquely featured venatores in this mosaic may not be representations of specific people in history; rather they may be depicting different types of venatores (Dunbabin 1978: 75). Two other mosaics found in the House of the Ostriches are associated with this floor mosaic (Dunbabin 2016: 201)., 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. Yacoub, Mohamed. Splendeurs des mosaiques de Tunisie. Ministere de la Culture, de la Jeunesse et des Loisiors: 1995.
Mosaic with Venatores
T-shaped mosaic. Depicted along the top portion of the vertical section are four male figures, each with unique features and clothing. One has long blond hair wearing a short tunic with a small animal pelt attached to the front holding a curved blade above his head. The next has short curly brown hair and wears a red long sleeved short tunic and is in the motion of unsheathing his sword. The next figure has medium length curly blond hair and wears a short sleeved short tunic with the image of a lion's head on the front; he also wears some type of foot wear and is holding a spear. The last figure has medium length curly black hair and wears a long sleeved longer tunic that is yellow with two red vertical stripes; he holds a sword in one hand and the sheath in the other. Lying at all four figures feet are various other weapons. Below the human figures are various types of animals running in all directions. These depictions continue down the vertical length of the mosaic and spread out into the horizontal portion. The animals depicted here are antelopes, addaxes, deer, wild horses, and ostriches., Mosaic dates to the middle of the 3rd century CE and was originally found in the House of the Ostriches in the city of Sousse (Yacoub 1995: 278; Dunbabin 1978: 74). The depictions of the uniquely featured venatores in this mosaic may not be representations of specific people in history; rather they may be depicting different types of venatores (Dunbabin 1978: 75). Two other mosaics found in the House of the Ostriches are associated with this floor mosaic (Dunbabin 2016: 201)., 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. Yacoub, Mohamed. Splendeurs des mosaiques de Tunisie. Ministere de la Culture, de la Jeunesse et des Loisiors: 1995.
Mosaic with Venus and Spectacles
This very large square mosaic shows round and hexagonal medallions of interwoven laurel bands each with a divine, human or animal figure. In the central medallion is a nude Venus, adjusting her sandal. Other medallions show gladiators, venatores, musicians and animals, the performers in the amphitheatre spectacles., Dates to c. late 3rd-early 4th century CE (Dunbabin 1978: p.274)., Dunbabin, Katherine M.D. The Mosaics of Roman North Africa: Studies in Iconography and Patronage. Oxford: Clarendon Press, 1978. Yacoub, Mohamed. Musée du Bardo. Musée Antique. Tunis, 1970.
Mosaic with Venus and Spectacles
This very large square mosaic shows round and hexagonal medallions of interwoven laurel bands each with a divine, human or animal figure. In the central medallion is a nude Venus, adjusting her sandal. Other medallions show gladiators, venatores, musicians and animals, the performers in the amphitheatre spectacles., Dates to c. late 3rd-early 4th century CE (Dunbabin 1978: p.274)., Dunbabin, Katherine M.D. The Mosaics of Roman North Africa: Studies in Iconography and Patronage. Oxford: Clarendon Press, 1978. Yacoub, Mohamed. Musée du Bardo. Musée Antique. Tunis, 1970.
Mosaic with Women Playing Sports
Mosaic depicting four females wearing breast bands and shorts. Two are playing with a ball, one holds a wreath and a palm branch, and one holds an object that looks like a stick and hoop(?)., Dates to the first quarter of the 4th century CE.
Neck Amphora with Athlete
Red-figure neck amphora. The obverse depicts a nude male athlete holding a jumping weight. The reverse depicts a draped man leaning on a stick., Dates to c. 440-430 BCE and is attributed to the Loeb Painter., Metropolitan Museum of Art. "Terracotta neck-amphora (jar)." The Metropolitan Museum of Art Online. Accessed November 22, 2017. https://www.metmuseum.org/art/collection/search/254848
Neck Amphora with Athletes
Black-figure neck amphora depicting male athletes exercising. The obverse depicts three figures: the first is a musician playing the flute; in the middle, a nude male youth holds halteres (jumping weights); and the last figure is a nude youth holding staves for javelin. The reverse also has three male figures: the first is a trainer; the middle nude youth is practicing throwing a discus; and the last figure is also a nude youth holding staves for javelin., Dates to c. 500 BCE. It is attributed to the Edinburgh Painter., Metropolitan Museum of Art. "Terracotta neck-amphora (jar)." The Metropolitan Museum of Art Online. Accessed November 22, 2017. https://www.metmuseum.org/art/collection/search/254848
Neck-Amphora with Athlete and Ephebos
Red-figure neck-amphora depicting an athlete and ephebos. The obverse depicts a clothed ephebos holding an aryballos attached to cords. The reverse depicts a nude male athlete wearing a fillet and holding a strigil., Dates to c. 440-420 BCE., British Museum. “neck-amphora.” The British Museum Collections Online. Accessed November 22, 2017. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=460725&partId=1&searchText=greek
Neck-Amphora with Athlete and Ephebos
Red-figure neck-amphora depicting an athlete and ephebos. The obverse depicts a clothed ephebos holding an aryballos attached to cords. The reverse depicts a nude male athlete wearing a fillet and holding a strigil., Dates to c. 440-420 BCE., British Museum. “neck-amphora.” The British Museum Collections Online. Accessed November 22, 2017. http://www.britishmuseum.org/research/collection_online/collection_object_details.aspx?objectId=460725&partId=1&searchText=greek
Nikosthenic Amphora with Boxers
Black-figure amphora depicting two male nude boxers facing each other with a tripod between them. On the shoulder are eye decorations with a clothed youth sitting between them. Geometric patterns decorate the rest of the body. Inscription reads 'NIKOSTHENES EPOIESEN'., Dates to c. 520 BCE., The J. Paul Getty Trust. "Attic Black-Figure Nikosthenic Amphora." The J. Paul Getty Museum. Accessed November 22, 2017. http://www.getty.edu/art/collection/objects/6529/attributed-to-painter-n-signed-by-nikosthenes-attic-black-figure-nikosthenic-amphora-greek-attic-about-520-bc/
Nikosthenic Amphora with Boxers
Black-figure amphora depicting two male nude boxers facing each other with a tripod between them. On the shoulder are eye decorations with a clothed youth sitting between them. Geometric patterns decorate the rest of the body. Inscription reads 'NIKOSTHENES EPOIESEN'., Dates to c. 520 BCE., The J. Paul Getty Trust. "Attic Black-Figure Nikosthenic Amphora." The J. Paul Getty Museum. Accessed November 22, 2017. http://www.getty.edu/art/collection/objects/6529/attributed-to-painter-n-signed-by-nikosthenes-attic-black-figure-nikosthenic-amphora-greek-attic-about-520-bc/