This thesis explores the archaeology of late antique Sicily from the time of Theodosius I (347–95) to the reign of Constans II (630–68). Analysing published data from urban and rural contexts I aim to define three research subjects that are: 1 – The potential different phases of Sicilian Late Antiquity; 2 – The part played by the Church and the impact of Christianity in this transitional period, and, finally, 3 – The definition of a regional economic pattern. During the centuries here investigated, Sicily went through three main phases named: the fall of the Roman Empire, the Byzantine conquest of the 6th century and the process of Byzantinization of the Sicilian society and culture. The Church played a key role in all these three phases initially negotiating with local elite and cultural background its presence within the urban walls. But after the Byzantine conquest and until the Arab occupation of Sicily, the Church imposed its authority through the building of churches, monasteries and chapels transforming the urban and rural landscape. After the Vandal invasion of North Africa, Sicily became the only food supply for Italy and this deeply impacted the provincial economy increasing production and trade with Italy resulting in a period of economical prosperity and cultural liveliness.

The thesis presents the results of a study of 1005 graffiti on 13th century Byzantine amphorae from a shipwreck in the Bay of Sudak near Novy Svet, Crimea, Ukraine. The primary goals of this thesis are 1) to provide an overview of the excavation and shipwreck, 2) to examine the importance of the Novy Svet wreck in terms of Black Sea maritime trade in the Late Byzantine period, 3) to present the data collected at the Center for Underwater Archaeology at the Taras Shevchenko National University in Kiev, Ukraine (CUA) about the graffiti inscribed on the Günsenin IV amphorae raised from the Novy Svet wreck and 4) to discuss the meaning and importance of the graffiti, both aboard the ship itself and in a more general context. The thesis introduces the results of the 2002-2008 underwater excavation seasons at Novy Svet. Excavators have identified a 13th century shipwreck filled with glazed ceramics and amphorae as a Pisan vessel sunk on August 14, 1277. The majority of the amphorae are Günsenin IV jars and have graffiti inscribed on them. Analysis of the graffiti focuses on the division of the marks into morphological categories, and identifying parallels for the specific forms at other archaeological sites. The graffiti are divided into 5 types; Greek/Cyrillic letters, Turkic runes, geometric or pictorial symbols, numerical designations, and Arabic letters. Their parallels speak to a multi-lingual, multi-ethnic trade network in the Black Sea that included Byzantine Greeks, Hellenized Bulgarians, and Arabs.

Les vestiges mobiliers de l'occupation byzantine de l'Afrique antique constituent un corpus important d'objets en céramique (vaisselle, amphores et carreaux de terre cuite), en verre (lampes), en pierre (décor sculpté et mosaïques) en plus des monnaies. L'ensemble de ces objets provient des fouilles des niveaux d'occupation datés entre les VIe et VIIe siècles ap. J.-C., période pour laquelle les sources historiques témoignent de la Reconquête de la région menée par les armées impériales venues de Constantinople. Pour retrouver la trace des Byzantins eux-mêmes, c'est le travail de plusieurs génération d'antiquaires, d'explorateurs et d'archéologues qui a d'abord été examiné en se posant la question de savoir quelle était la nature des vestiges retrouvés. Ceux-ci témoignaient-ils d'une communauté de culture entre Orient et Occident rendue possible grâce à la restauration de l'autorité impériale ? Ou bien l'Afrique avait-elle révélé, à travers ses traditions artisanales fortes, toute la singularité de sa place au carrefour de la Méditerranée occidentale ? / The archaeological material from the Byzantine occupation of ancient Africa forms a huge corpus of objects in ceramics (crockery, amphoras and tiles of terra cotta), glass (lamps), stones (carved decoration and mosaics) in addition to the coins. All these objects are coming from occupations dated between VIth and VIIth centuries A.D., period for which the historical sources testify to the Reconquest of the area, carried out by the imperial armies from Constantinople. Find the traces of the Byzantines themselves was the work of several generations of antiquarians, explorers and archaeologists asking the question of the true nature of the found remains. Did those vestiges testify a cultural community between Eastern and Western Mediterranean Sea made possible by the restoration of imperial authority ? Or did Africa reveal through its strong handcrafted traditions all the singularity of its place at the crossroads of the Western Mediterranean ?

Les peintures murales de Baouît ont suscité dès leur découverte l’intérêt des historiens de l’art et en particulier des spécialistes de l’Orient chrétien. Devenues un corpus emblématique de l’art copte, à la charnière de l’Antiquité tardive et du haut Moyen Âge, elles représentent une manne iconographique d’autant plus exceptionnelle que les décors de cette période sont rares autour du bassin méditerranéen. Tout en se faisant l’écho des édifices protobyzantins en grande partie disparus, elles rendent compte d’une communauté monastique florissante au début de l’époque arabe. Elles constituent également une source précieuse, complémentaire des textes, sur la vie spirituelle des moines d’Égypte. La présente étude est le fruit d’une synthèse opérée entre la relecture de la documentation ancienne et les données apportées par les investigations récentes. La reprise des travaux archéologiques sur le site invitait à reconsidérer l’ensemble du matériel pictural mis au jour au début du XXe siècle, en vue notamment de préciser, à la lumière des programmes iconographiques et des nouvelles découvertes, la fonction et la datation desdites chapelles. Enfin, elle apporte un éclairage unique sur les peintres qui ont œuvré à Baouît et qui ont transmis, par l’intermédiaire de leur travail pictural, une image de leur communauté et une part de la spiritualité égyptienne. / Since their discovery, the wall paintings from Bawit aroused art historians’ interest, especially among scholars of the Christian East. They are an emblematic corpus of Coptic art, in the transition period between the Late Antiquity and the early Middle Ages. Their significance is even more exceptional, considering the fact that they are very few around the Mediterranean basin. While echoing the largely extinct early byzantine buildings, they reflect a flourishing monastic community at the beginning of the Arab era. They are also a valuable source of information, complementary to the texts, about the spiritual life of the Egyptian monks. This study is the result of a synthesis between the proofreading of the archives and the data provided by the recent investigations. The new start of excavations on the site invited us to reconsider all the pictorial material discovered at the beginning of the 20th century, in order to clarify the function and the date of the said “chapels”, in the light of the iconographic programs and new discoveries. Finally, it gives a unique insight of the painters who have worked at Bawit and who have transmitted, through their pictorial work, an image of their community and a part of the Egyptian spirituality.