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Considering Roman art as a cumulative process could help resolve a small iconographical problem. Cubiculum N in the burial hypogeum under the Via Dino Compagni in Rome (c. 350–75 ce) features a series of figure scenes referencing the exploits of the mythological hero Hercules. One of these scenes, presently entitled Hercules Slaying an Unknown Enemy, has no direct equivalent in extant Roman art and so has proved difficult to identify. This article suggests that Hercules' battle with Cacus is most likely the incident referred to here. This is because Antonine medallions and coins, and third-century Roman sarcophagi, use imagery associated with the Cacus story that collectively could have contributed to the design of the Unknown Enemy panel. Further, identifying the defeated enemy as Cacus fits in with, and indeed helps to clarify, programmatic themes and associations already established in the other figure scenes in this funerary chamber. [ABSTRACT FROM AUTHOR]

The novel Tired Generations (Udas Naslein) is a novel by Abdullah Hüseyin, published in Urdu in 1963, that enables us to witness one of the important periods in the history of our country and the world. Hüseyin can be called a socialist writer considering his novel Tired Generations. In his work, the author wants to convey to the reader the environment his country is in as a result of its exploitation by the British. Thus, he writes his novel with the desire to announce the problems of the people to the outside world. Hüseyin's work begins with the character named Roşen Ağa, whose name is mentioned in the first chapter, explaining how he became the landowner of the region called Roşenpur, which he named after himself, and a brief description of Roşenpur. In Roşenpur, Muslims, Hindus, Sikhs and Christians live as a community, respectful of each other's religious and cultural values. Although they all have different religious and political views, their social structures, economic activities and lifestyles do not conflict with each other's human values. This depiction of Roşenpur drawn by Abdullah Hüseyin is a miniature of India of the period. In the work; Economic difficulties, political impotence, understanding the negative effects of the longstanding exploitation system and war on the people, and the factors that led the country to the independence process will be conveyed through structural and thematic fiction. Structural elements in the work; time, place, plot, point of view and cast of characters. Thematic elements are; It will be explained with prominent examples in the work through the concepts of class difference, exploitation order, war, independence. [ABSTRACT FROM AUTHOR]

The following pages focus on the domestic cult in the province of Thrace, with an emphasis on the use of plastic monuments in the cult practices. Complexes from urban and extraurban environments are examined, the types of monuments and their combination are discussed and the common features of the commented complexes are highlighted. In conclusion the specificities of the domestic cult in Thrace in relation to evidence from other parts of the Roman empire are discussed. [ABSTRACT FROM AUTHOR]

The dolphin motif on the ship-shaped oil lamp treasured in the Museum of Smederevo (4th century AD) has complex iconography, multi-layered and complex symbolism, and a long history. This article presents and explains how its iconography and meaning were gradually formed and developed in ancient Greek and Roman art, as well as the peculiarities of its gradual transformation into a Christian symbol. It is found that the context of the appearance of the dolphin motif in art during different epochs is not a mere coincidence, but the expression of a clear intention on the part of particularly learned artists and commissioners of works of art. Since there are no written records of this motif that would explain its iconography and meaning, and since the motif itself is by nature very hermetic, and at the same time very rare, the characteristic context of the appearance of the dolphin motif in art is also a decisive parameter for analyzing its meaning and its gradual formation.

The article focuses on the recent exhibition "Roman Landscapes: Visions of Nature and Myth from Rome and Pompeii" at the San Antonio Museum of Art. Topics include the interpretation of landscapes in Roman art, the blurring of categories like pastoral and mythic representations, and the nuanced examination of the concept of "landscape" itself and this exhibition challenged viewers' perceptions of reality, prompting reflections on the relationship between humanity and the natural environment.

The article reviews the Museum of Fine Arts, Boston, Massachusetts newly revitalized galleries featuring their renowned collection of Greek and Roman art having Graeco-Roman gods and goddesses, Byzantine Empire, Early Greek art, and Roman portraiture.

The paper provides a brief overview of art export regulations in the Mediterranean region from the 19th century to the laws adopted in the 1920s and 1930s. It then focuses on the German law of 1919 requiring works of art that were predominantly privately owned and of outstanding value to be entered in a register, the so-called List of Nationally Important Artworks. Once the works were listed in this index, they were subject to authorization for export. Despite the high importance the National Socialists attributed to Greek and Roman art as an eternal art, only one percent of the artworks that were classified as nationally valuable were from ancient periods. The instrumentalization of the export regulation through the National Socialist regime is illustrated by the example of Albert Lévy's collection of antiquities in Hamburg. For provenance research, it is essential to determine how laws were extended, applied, bypassed, or overruled during National Socialism and, thus, instrumentalized as a means of state power. [ABSTRACT FROM AUTHOR]

The author introduces her art project called Marble, which addresses the artistic tradition of the city of Rome, Italy which is famous for its cultural heritage. She refers to themes portrayed by traditional Roman art such as a depressed generation and living in a city characterized by contradiction, youth unemployment, economic crisis and backward mentality of society. She presents examples of her illustrations of Roman people with themes like poverty, depression, homophobia and misogyny.

This paper examines a specific historical context of the virtual reality (VR), commonly associated with contemporary society, in order to consider its lineage. It sets up an argument that identifies archaeological examples, which worked with subjective perceptions of space, as predecessors to the digital technologies familiar in the 21st century context. While the paper acknowledges the use of VR representation throughout history and around the world, the focus will be on key Roman villas, specifically on their frescos, and the importance of these immersion spaces in Roman society for reasons that approach both the social and introspective. As technology is not a term merely beholden to the digital, encompassing major revolutionary human advancements such as language or agriculture, the paper examines the historical technologies, i.e. the representational techniques, that produced virtual realities and immersive environments of the past. It uses the Ancient Roman context to illustrate the relationship between representation, subject(s), and society, which can be examined from a historical context and further applied to the contemporary.

This critical account of the art studios of what was once the Roman art district, visited by the Alcott sisters during their stay in Rome in winter 1870-71, casts light on a vivid, cosmopolitan art scene through micro-biographies of the American literary sculptors trained at the school of Thorvaldsen and Canova. Among them, the unprecedented freedom experienced in Rome by the community of American sculptresses led by Charlotte Cushman contributed to their professional emancipation while producing marble representations of their republican and abolitionist values. [ABSTRACT FROM AUTHOR]

The collection of early to mid-Roman glasses from the Kom el-Dikka site in Alexandria has been augmented by new finds from the excavation of substantial remains of Roman domestic architecture (Houses FA and FB) in Sector F in the central part of the site. The range of vessel forms in this new set is not extensive, and shapes known from previous investigations in this sector are repeated to a degree. The most noteworthy contribution is the new data on colourless glassware of the period, a category that has hitherto been represented by a rather limited number of finds from the excavations, and which constitutes key evidence of artisanal activities in the final occupation phase of the Roman houses here. [ABSTRACT FROM AUTHOR]

The article focuses on the relationship between Nathaniel Hawthorne and Catholicism. Topics include Hawthorne's fascination with the beautiful paintings of the Madonna he saw at the Uffizi Museum in Florence; and the influence of the Puritan past on Hawthorne and the intertwining of the sensual qualities of both Catholic and ancient Roman art in Roman Catholic elements in Hawthorne's thinking and works.