This diploma thesis deals with the issue of The Analysis of Construction Activities of the Flavian Dynasty Emperors in the Territory of the Roman Provinces. The Emperors are Vespasian, Titus and Domitian. The time of their rule is second half of the 1. century AD. It is about their lives and impact of the roman provinces territory. All three Emperors are known for their architecture boom in Rome and Italy, but in Roman Provinces it is about Territory expansion. Each Emperor of Flavian dynasty have a big interest in this Era and this leads to architecture construction, where was only barbaricum before it. Key words: Archaeology, Classical Archaeology, Roman Empire, Roman Provinces, Flavian Dynasty, Architecture

This thesis explores the relationship between the Classical Greek legacy and today’s world by examining the past two hundred years of controversy surrounding Lord Elgin’s removal of the Parthenon Marbles from Athens. Since the Marbles were purchased by the British Museum in 1816, they have become symbols of democratic values and Greek cultural identity. By considering how the Parthenon Marbles are talked about by different people over the years, from art connoisseurs and Romantic poets of the early 19th century to nationalist political activists of the late 20th century, this thesis demonstrates that the fight for the Marbles’ return to Greece is about more than just the sculptures themselves. It is about national heritage and cultural identity.

Panatenaicas. Tradição, permanência e derivação. O que são ânforas panatenaicas? Depois de mais de duzentos anos de notícias sobre esse tipo de vaso, tal questão parece ingênua; entretanto, a avaliação atual indica uma série de inconsistências. Considerando a importância desse tipo de vaso para a pesquisa ceramológica, arqueológica e da história política, cultural e econômica, é devido retomar a questão: o que são ânforas panatenaicas? O objetivo, aqui, é discutir a caracterização do vaso panatenaico desde o debate arqueológico (a tipologia), passando pelo contexto da produção (a tradição artesanal) e de inserção primária e secundária (seu significado no festival e fora dele) e, por fim, pelas constantes citações feitas a eles em vários contextos, a partir de duas questões básicas: sua delimitação frente a objetos similares e seu significado na composição da premiação nas Grandes Panatenéias. A compreensão dessa trajetória na perspectiva diacrônica será baseada em alguns elementos tradicionais, sobretudo a produção derivada desse tipo de vaso. / Panathenaics. Tradition, permanence and derivation. What are Panathenaic amphorae? After two hundred years of reports about this type of vase, this question seems naïve; however the current debate shows some inconsistencies. Thus, given the importance of this type of vase to the research of Ceramology, Archaeology and Political, Cultural and Economic History it is important to go back to this question: what are Panathenaic amphorae? The aim of this research is to discuss the characterization of the Panathenaic vase starting at the archaeological debate (the typology) and examining the production context (the tradition of the craftsman), the primary and secondary insertion (its meaning inside the festival) and lastly, the many mentions of it, dealing with two basic elements: the delimitation of Panathenaic vase against pseudo-Panathenaic vase and its meaning taking part of the prize at the Great Panathenaia. The understanding of this process from a diachronic x approach will be based on traditional elements, especially the production derived from this type of vase.

Realizamos um levantamento e um estudo dos vestígios de santuários construídos nas apoikias do Ocidente, analisando aspectos referentes à sua organização física e inserção no espaço urbano e no território ligado a ele para, a partir daí, procurar entender a relação do culto religioso com esse espaço construído. O período estudado compreende o intervalo entre os séculos VII e III a.C., quando identificamos movimentos de expansão e retração na frequentação das áreas sacras estudadas. A compreensão em profundidade da dinâmica de instalação e uso desses santuários nos proporcionou um melhor entendimento de como a sociedade grega estruturava a religião no espaço e como esses lugares serviam como mecanismos políticos de posse e controle do território, usados pelos gregos para se estabelecerem nessas novas áreas já ocupadas por populações autóctones ou por gregos provenientes de outras regiões. / We conducted a research of the remains of sanctuaries in the Western apoikias, analyzing aspects related to their physical organization and insertion into the urban space and the territory attached to it, in order to understand the relationship of the religious worship to this constructed space. The chronological scope of the study is from VII to III centuries BC, a time frame when we identify movements of expansion and contraction in the utilization of the sacred areas studied. The deep understanding of the dynamics of installation and use of these sanctuaries gave us a better understanding of how Greek society structured religion in space and how these places served as mechanisms of political control and possession of territory, used by the Greeks to settle in these new areas already occupied by indigenous communities or by Greeks from other regions.

In the ancient religious imagination, catastrophic events – plagues, droughts, natural disasters – were frequently seen as manifestations of divine wrath that necessitated extraordinary ritual responses to quell. These responses frequently consisted in intensified forms of sacred violence, the most extreme of which was human sacrifice. The corpus of Greek literature is rife with myths of human sacrifice. In spite of this rich mythic repertoire, Greek artists produced scenes of human sacrifice rather infrequently and drew upon an extremely restricted range of subjects. The extant corpus of human sacrificial images totals fewer than 50 specimens and almost all of them feature the maidens Polyxena or Iphigeneia as the victim. In the Archaic era (700-480 BCE), painters and sculptors were almost exclusively interested in the sacrificial fate of Polyxena. Archaic representations of Polyxena’s sacrifice are remarkable for their overt treatment of the physical violence to which the maiden was subjected, in some cases going so far as to visualize the blood gushing forth from her perforated neck. Interest in the violent and gory aspect of the sacrificial ritual diminishes in the closing decades of the Archaic period. The title of the proposed talk, bad blood, has a twofold sense; both senses refer to the underlying subject of belief and to the main arguments of this paper: The first sense is idiomatic and indicative: Polyxena’s sacrifice was a matter of bad blood, since it resulted from the need to placate the wroth and aggrieved ghost of Achilles, who denied the Greeks safe passage home until he was granted the spoils due to him (cf. Eur. Hek. 35-44; Quint. Smyr 14.324-338). The second, more literal sense is interrogative: To wit, was the shedding of Polyxena’s blood bad per se? While Greek authors of the Classical period and beyond suggest that human sacrifice was universally condemned as an unthinkably barbaric offense and a violation of ritual norms, earlier extant literary sources offer no such clear ruling. However, this situation changes when the small yet iconographically remarkable group of pre-Classical visual representations of human sacrifice are considered. In these images, one may detect a diversity of attitudes or positions on the ritual of human sacrifice, individual as well as collective, that range from acceptance to outright repudiation. This range of attitudes is not, however, neatly confined to the proverbial frame of the image or the mythical context of the event. Like the mythic cast of characters, contemporary ancient viewers were meant to participate in the discursive dynamic, bringing their individual beliefs and attitudes to bear on the scene and its significance. In other words, these representations imply a multiplicity of attitudes (and the beliefs that inform them) among the implied viewers of these artworks.

Mycenean society on mainland Greece started to decline with the collapse of the palatial system during the 13th century BC. Following the collapse was a big change in the ceramic repertoire of the Aegean area, this new period was later named the post-palatial period or late helladic IIIC which was based on the types of ceramics found during the period. The changes in the societies of the Aegean can be seen in the ceramics, which is one of the best-preserved materials from Mycenaean society. The changes are believed to have had a major impact on both the production and consumption of ceramic containers, which can be seen in the styles that were typical of the Greek mainland, but also in the spatial distribution and the use of ceramics. The purpose of this study is to analyze a ceramic object (an alabastron) from Uppsala University Museum Gustavianums antiquities collection and through the study find out how the object fits into the changes that took place in Mycenaean society around 1200 BC. The essay and the questions are mainly based on the ceramic object analyzed in the main part of the essay, where the purpose is to document and then analyze the vessel's manufacture, function, shape, decoration and the context. In this essay, theory and method is based on Panofskys’ framework for studies of iconography and iconology.

Since the turn of the millennium an extensive digitalisation of the European cultural heritage has been underway. The aim is to make the common cultural heritage accessible to everyone and promote developments in education, tourism and the creative industry, among others. Historically, archival documents and works of art have been closely related as archival documents has served as a proof of an artworks history and autheticity, its’ provinance. Since the turn of the millennium the archive has become a recurring theme in contemporary art. Informed by post structuralist theories of the archive as both a material place and a structure for power and history. In this paper the relation between archival documents and artworks are being examined. By studying the digitalisation project of Thielska Galleriet in Stockholm the aim is to answer how documents of Richard Bergh’s letter archive, preserved at Thielska Galleriet, are being affected when made digitally available together with the museum’s art collection. The study is framed by the archive science theory the accessparadigm. Occuring at the turn of the 21st century the paradigm correlated with the change from paper to digital information storage, changing the focus of the archive from custody to access. The analysis is taking an interdisciplinary approach in relation to the concepts provenance and authenticity, established in both archive science and art history and is further framed by the art historical dissertation The Archive Art Phenomenon: History and Critique at the turn of the Twenty-First Century by Sarah Callahan (Stockholm University 2018). The case study shows that the relation between archival documents and artworks at Thielska Galleriet has been blurred in different ways historically. Though faithful to concepts of provenance and authenticity, the digitalisation project faced some challenges regarding how the status of some archival documents changed when registered in correlation with the art collection in the database. Seen through the lens of the Archive Art Phenomenon, archival documents might be considered artworks if they are conceptualised as such. Access to the digitalised archives and art collection of Thielska Galleriet opens up for considering the archival documents in new ways. The use of Richard Berghs letter archive in artistic work and processes is one such potential.

The Gorgon is a creature described as terrible in ancient literature. It was depicted with glaring eyes, tusks and a hanging tongue and was a part of Greek antiquity from Archaic to Roman Period. The Gorgon motif has frequently been adorned on different materials. The reason as to why such a creature was depicted has been a subject of interest in earlier studies. The Gorgon motif has been elaborately studied in combination with buildings, armours and vases. A gap of knowledge that is still to be filled is a deeper examination of the Gorgon motifs on coins, which is the inspiration for this study in which the main aim is to approach an understanding of what function the Gorgon motif could have had on Archaic Greek coins. The study is based on a collection of 42 Archaic coins from Athens and Neapolis in Macedon. Through Panofsky's theory of iconography the material is analyzed and discussed via a series of sub-questions; ‘Did the Gorgon motifs differ depending on the location?’, ‘What combination of features appear on the coins?’, ‘To what extent was the Gorgon myth linked to the locations that used the motif and what other myths were used on coins during the same period? ’, ‘Is there a link between the use of Gorgon motifs on coins and on other material objects?’ The paper measures the possible explanations of the Gorgon motif with archaeological finds and ancient texts dealing with the Gorgon, many of which point to the fact that the Gorgon’s function generally served a purpose as an apotropaic symbol. Its function as a possible amulet is investigated using previous research that studies the symbolic significance of the Gorgon, as well as tracing its background and examination of the Gorgon myth to find possible connections with other mythical creatures. / Gorgonen är en varelse som beskrivs som fruktansvärd i den grekiska antikens litteratur. Den avbildas med stirrande ögon, betar och en hängande tunga. Gorgonen har varit en del av den grekiska antiken sedan dess början och har varit ett populärt motiv på olika material. Det har funnits stort intresse i tidigare studier kring anledningarna till att en sådan varelse valts att avbildas. Motivet har studerats omsorgsfullt när det har smyckat byggnader, rustningar och vaser. En lucka som inte har fyllts än inom ämnet är en djupare undersökning av gorgonmotiven på mynt, vilket även är ämnet för denna studie med syftet att närma sig en förståelse för de funktioner som Gorgonmotiven fyllde på mynt under arkaisk grekisk tid. Studien baseras på ett urval av 42 arkaiska mynt från Aten och Neapolis i Makedonien. Genom Panofskys trestegsmodell analyseras gorgonmotiv som framkommer på mynten och svarar på en rad viktiga underfrågor: Skiljer sig gorgonmotiv åt mellan platser Vilka kombinationer av gorgoner förekommer på mynten? I vilken utsträckning var gorgonmyten kopplad till de platser som använde motivet, vilka andra myter användes på mynten under samma period? Finns det ett samband mellan användningen av gorgonmotiv på mynt och på andra objekt? I uppsatsen bedöms möjliga förklaringar till gorgonmotivet med arkeologiska fynd och antika texter som behandlar gorgonen, varav många pekar mot att gorgonens funktion i allmänhet fyllde ett apotropeiskt syfte. Detta undersöks med hjälp av tidigare forskning av gorgonens symboliska betydelse samt kopplingen med andra mytiska varelser genom att spåra dess bakgrund och granskning av gorgonmyten.

This paper consists of a focused, formal, and iconographic analysis of a unique Late Archaic bronze hand mirror said to originate in Magna Graecia, now in the Getty Museum. Of particular interest is the way the object fuses and juxtaposes two semantically dense and interrelated devices from the ancient Greek world: the mirror and the severed head of the Medusa (gorgoneion). While gorgoneia are generally encountered as ornaments on Greek mirrors, the Getty example is the only extant case in which Medusa’s head occupies the entire backside of the mirror, effectively functioning as a Janus-faced counterpart to the user’s face reflected in the disc. Scholars tend to explain the significance of gorgoneia on objects like the Getty mirror with reference to apotropaic and/or humorous effects. Yet Fowler proposes that the mirror’s incorporation of the gorgoneion may be appreciated on deeper conceptual and phenomenological levels: as a visual “comment” on the nature of the image (representational and reflected) and of (female) beauty and ugliness, which is accomplished by, and experienced through, using the object. Close examination of the Getty mirror thus offers critical insights into the complex interplay between gender, aesthetics, image-making, and visual experience in ancient Greek culture.

Scenes involving the breaking or outright inversion of culinary and (com)mensal norms are frequent in Greek art of the Archaic and Classical periods. The most discussed group of such images involves the uncivilized act of binge drinking unmixed wine and, as a result, losing control of one’s mind and body. Far less studied from an iconographic perspective are scenes of cannibalism, the most extreme and unsettling of all Greek culinary taboos. This paper seeks to define the iconography and meaning of cannibalism in Greek art through an exploration of the individual and shared compositional features of anthropophagic scenes and their visual relationship to normative images of meat consumption. Analytical attention will also be given to the objects on which these scenes appear and the relationship between the scenes and any other decorative content. Of particular interest is the way in which the iconography reflects cannibalism’s association with other serious normative violations, for example, infanticide (e.g., Prokne slaying her son Itys) and inhospitality (e.g., the Egyptian pharaoh Bousiris attempting to sacrifice his guest-friend Herakles). [The manuscript is currently being developed into an article to be submitted for publication consideration, probably in winter 2021.]