The elderly figure with two attendants directing the capture of beats in the southern half of the Great Hunt, soon after its discovery in the 1950s, was dubbed as the dominus, and identified by L’Orange, for example, as the Emperor Maximian himself (Figure 3). We cannot be certain that in this image a specific individual was intended, let alone that he was related to the dominus. Like all her predecessors, however, the correct conclusion was not drawn (Steger follows Sande[41] in thinking there is deliberate Dionysiac allusion in the apse, perhaps to Hercules’ drinking bout with Dionysus). [1] G. V. Gentili, La villa romana di Piazza Armerina. For example, on p. 114, n. 70, and p. 116, n. 73, there are references to “Chastagnol 1997”, but this item is not listed in the Bibliography; instead one has to go back to p. 78, n. 4, to establish that the citation refers to the third edition of Chastagnol’s Le Bas Empire. Sujet et définition de mots fléchés et mots croisés ⇒ LA VILLE DES SAGIENS sur motscroisés.fr toutes les solutions pour l'énigme LA VILLE DES SAGIENS avec 4 lettres. Brigitte Steger, in the book under review, the first in French about the site, makes the bold claim (initially on the back-cover blurb) that she can provide both a precise name for the owner of Villa Casale and a precise date for its decoration, so sweeping aside the uncertainties of decades of recent scholarship. (Osimo: Fondazione Don Carlo, 1999). The smaller figure at bottom right, surrounded by reeds and with plants in his hair, must depict a river god in Phrygia, locating the scene of the action (Figure 14).[47]. The Orpheus pavement (39), by conveying the emotional impact of music on the animals, evokes “sans doute” (p. 204) the Neoplatonic theory of metempsychosis, through which the soul always keeps some traces of an earlier life; according to Steger, the pavement expresses the role of music “pour humaniser la part de sauvagerie qui se trouve en chacun” (p. 204). [10] Nor are these the only suggestions that have been advanced. 3; here 51-52 on Fig. See also note 45. Studien zur nordafrikanischen Feinkeramik des 4. bis 7. Its promotion of pagan values would suit well, Steger suggests, the anti-Christian views of Virius Nicomachus Flavianus, but her suggestion that the writhing giants in the east apse might be symbolic of justified attacks on the Christians, with the central giant even a reflection of the image of Christ himself (p. 164), seems particularly bizarre; she draws a parallel between the giants’ hairstyle on the one hand, and the bearded representations of both philosophers and Christ in catacomb imagery on the other. Atti della IV Riunione Scientifica della Scuola di Perfezionamento in Archeologia Classica dell’Università di Catania (Piazza Armerina, 28 settembre—1 ottobre 1983), Cronache di Archeologia 23 for 1984, publ. For example, it is not improbable that in a first phase the area of the oval court would have been planned as a planted garden with fountains (Pensabene [note 16], 239, for the latter), only later to be removed and covered with mosaic. [4], Unsurprisingly, scholars have been not been slow in trying to suggest a possible name for the owner of the villa. Roman visual language was intended to speak clearly and unequivocally to an ancient educated audience, and the mosaics here as elsewhere included deliberate iconographical pointers to help the ancient reader understand instantly what was being represented. Statues of him in Republican times showed him naked but wearing leg-irons, a reminder of how Liber/Bacchus had freed him. [18] Pensabene (note 14), 249, note 23.

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